Dracula Review – Besson’s Passionate Reinterpretation of the Classic Horror Story is Ridiculous but Entertaining

It’s possible audiences aren’t clamoring for a new version of Dracula from Luc Besson, the filmmaker known for polished extravagance. And yet, one must admit: his lavishly upholstered romantic vampire tale displays creativity and style – and in all its Hammer-y cheesiness, it could be preferable compared with Eggers’s dignified recent take of Nosferatu. A few strange elements appear, like a particular moment that seems to depict a territorial boundary between France and Romania.

The Veteran Actor as a Humorously Exhausted Priest Tracking the Undead

Christoph Waltz portrays a humorous yet burdened vampire-hunting priest – it’s surprising he never took on such a part earlier – who finds himself in Paris in 1889 during the centennial of the French Revolution. The same goes for the malevolent vampire count, brought to life by the seasoned horror actor Caleb Landry Jones using a distorted Eastern European tone reminiscent of Carell’s Gru character of the Despicable Me series. This is a part he seemed destined to play.

The Plot: A Saga of Heartbreak

Here’s the premise: the count has wandered endlessly the world in torment for 400 years after his transformation into a vampire, a punishment for his irreligious grief following the loss of his beloved Elisabeta (an inaugural screen appearance for Zoë Bleu, Rosanna Arquette’s child). The count has looked tirelessly for a lady who might be the reincarnation of his departed beloved. By cruel fate, the fortunate female proves to be Mina (again played by Bleu), the modest betrothed of Dracula’s wimpish land agent, Jonathan Harker (Ewens Abid), who lately visited to the vampire’s estate to discuss his property portfolio and the small picture of the lovely Mina attracted Dracula’s gaze.

The Filmmaker’s Approach and Lighthearted Touch

Besson structures Dracula’s middle-section history of worldwide travels wearing flamboyant outfits skillfully, and he willingly includes providing funny bits in the style of Mel Brooks – like the count’s repeated and futile attempts to kill himself following Elisabeta’s passing, along with farcical scenes that follow Dracula sprays himself using a particular scent in historic Florence, which makes him compelling to the opposite sex. Absurd yet engaging.

Dracula is available digitally from 1 December and in disc format from December 22nd. It screens in Australian cinemas beginning on the fifth of February, 2026.