Dracula Review – Luc Besson’s Love-Struck Reimagining of the Classic Horror Story is Absurd but Watchable
Perhaps interest is limited for an updated adaptation of Dracula from Luc Besson, the celebrated French director for stylish excess. However, it has to be said: his richly designed romantic vampire tale displays creativity and style – and with its B-movie charm, I’m not sure I wouldn’t prefer compared with Eggers’s dignified recent take of Nosferatu. A few strange elements appear, such as a scene that seems to depict a land border between France and Romania.
Christoph Waltz as a Witty Yet Careworn Clergyman Hunting Vampires
Christoph Waltz plays a clever but beleaguered man of the church pursuing the undead – it feels natural for him to tackle such a part earlier – who arrives in Paris in 1889 during the centennial of the French Revolution. Likewise present is the malevolent vampire count, played by the seasoned horror actor Caleb Landry Jones speaking in a twisted regional dialect similar to Steve Carell’s Gru from the Despicable Me comedies. This character suits him perfectly.
The Narrative: A Chronicle of Longing
The plot unfolds as follows: the vampire lord has traveled ceaselessly the globe in sorrow for 400 years following his rise as one of the undead, a punishment for his irreligious grief over the death of his wife, Elisabeta (a movie debut role for Zoë Bleu, daughter of Rosanna Arquette). the vampire has looked tirelessly for a female who might be the reincarnation of his deceased partner. By cruel fate, the fortunate female turns out to be Mina (portrayed once more by Bleu), the reserved future wife of Dracula’s wimpish land agent, Jonathan Harker (Ewens Abid), who has recently been to the vampire’s estate to discuss his real estate holdings and whose miniature portrait of the charming Mina drew the vampire’s attention.
Besson’s Direction and Humorous Style
Besson organizes Dracula’s middle-section history of worldwide travels sporting extravagant attire with a sure hand, and he willingly includes offering some comedy moments reminiscent of Mel Brooks – for example the vampire’s constant unsuccessful tries to end his own life following Elisabeta’s passing, in addition to absurd moments that follow Dracula sprays himself in a certain perfume in historic Florence, which makes him compelling to the opposite sex. Ridiculous and watchable.
Dracula is on digital platforms starting December 1st and for physical purchase starting the twenty-second of December. It will be shown in Australian cinemas starting February 5, 2026.
