Dracula Review – Besson’s Romantic Revamp of the Timeless Gothic Tale is Outlandish but Engaging
Maybe audiences aren’t clamoring for a fresh take of Dracula from Luc Besson, the celebrated French director for stylish excess. Still, one must admit: 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. A few strange elements appear, such as a scene that appears to show a geographic divide between France and Romania.
Christoph Waltz as a Witty Yet Careworn Clergyman Hunting Vampires
Christoph Waltz portrays a witty yet careworn man of the church pursuing the undead – I can’t believe he hasn’t played such a part earlier – who finds himself in Paris in 1889 for the French Revolution centenary celebrations. Likewise present is the evil Count Dracula, played by the expert in grotesque roles Caleb Landry Jones with a mangled central European accent evoking Steve Carell’s Gru from the Despicable Me comedies. This character suits him perfectly.
The Plot: A Tale of Love and Loss
The plot unfolds as follows: Dracula has traveled ceaselessly the earth in sorrow for 400 years since he became undead, a punishment due to his blasphemous mourning over the death of his spouse Elisabeta (an inaugural screen appearance for Zoë Bleu, Rosanna Arquette’s child). the vampire has been searching, searching, searching for some woman who would be the return of his deceased partner. Unfortunately, the fortunate female proves to be Mina (portrayed once more by Bleu), the demure fiancee of Dracula’s wimpish land agent, Jonathan Harker (enacted by Ewens Abid), who has recently been to the count’s castle to discuss his land assets and the small picture of the lovely Mina attracted Dracula’s gaze.
Besson’s Direction and Lighthearted Touch
Besson structures Dracula’s second-act backstory of global roaming wearing flamboyant outfits confidently, and he is not above offering humorous scenes reminiscent of Mel Brooks – like the vampire’s constant unsuccessful tries to kill himself after Elisabeta’s death, along with farcical scenes that occur when Dracula douses himself using a particular scent in 18th-century Florence, which causes him to be compelling to the opposite sex. Outlandish but entertaining.
Dracula is on digital platforms from 1 December and for physical purchase from 22 December. It plays in Australian cinemas beginning on the fifth of February, 2026.
