Dracula Review – Luc Besson’s Love-Struck Revamp of the Classic Horror Story is Absurd but Watchable

Perhaps there is no great enthusiasm for an updated adaptation of Dracula from Luc Besson, the French maestro for polished extravagance. However, it has to be said: his richly designed romantic vampire tale has ambition and panache – and with its B-movie charm, I might just favor over Eggers’s dignified recent take of Nosferatu. There are some very bizarre touches, including one shot that seems to depict a territorial boundary between France and Romania.

Christoph Waltz as a Witty Yet Careworn Vampire-Hunting Priest

Christoph Waltz portrays a clever but beleaguered vampire-hunting priest – it’s surprising he never took on this character previously – who arrives in Paris in 1889 during the centennial of the French Revolution. The same goes for the evil Count Dracula, brought to life by the body-horror veteran Caleb Landry Jones speaking in a twisted regional dialect reminiscent of the voice of Gru by Steve Carell from the Despicable Me comedies. This character he seemed destined to play.

The Narrative: A Chronicle of Longing

The plot unfolds as follows: Dracula has traveled ceaselessly the world in sorrow over four centuries since he became undead, a punishment for his faithless sorrow after the passing of his beloved Elisabeta (a movie debut role for Zoë Bleu, the offspring of Rosanna Arquette). Dracula has looked tirelessly for some woman who would be the return of his deceased partner. As ill fortune would have it, the fortunate female proves to be Mina (portrayed once more by Bleu), the reserved future wife of the count’s timid estate manager, Jonathan Harker (enacted by Ewens Abid), who lately visited to the vampire’s estate to discuss his property portfolio and the small picture of the winsome Mina attracted Dracula’s gaze.

Besson’s Direction and Humorous Style

Besson structures Dracula’s middle-section history of international journeys in various outrageous costumes skillfully, and he doesn’t shy away from giving us some comedy moments with a distinctly Mel Brooks flavour – for example the vampire’s constant unsuccessful tries to kill himself following Elisabeta’s passing, in addition to farcical scenes that result after Dracula sprays himself with a specific fragrance during the 1700s in Florence, which makes him compelling to the opposite sex. Absurd yet engaging.

Dracula is available digitally beginning on the first of December and in disc format from 22 December. It will be shown in Australian cinemas starting February 5, 2026.