Dracula Review – The French Director’s Passionate Reinterpretation of the Gothic Classic is Ridiculous but Watchable
It’s possible interest is limited for an updated adaptation of Dracula from Luc Besson, the filmmaker known for glossiness and bloat. However, it has to be said: his lavishly upholstered romantic vampire tale displays creativity and style – and in all its Hammer-y cheesiness, it could be preferable over Robert Eggers’s recent, solemnly classy version of Nosferatu. Odd details emerge, like a particular moment that appears to show a territorial boundary between France and Romania.
Waltz as a Humorously Exhausted Priest Tracking the Undead
Christoph Waltz portrays a witty yet careworn 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. So does the malevolent vampire count, played by the seasoned horror actor Caleb Landry Jones with a mangled central European accent reminiscent of the voice of Gru by Steve Carell of the Despicable Me series. This is a part that he too was born to take on.
The Plot: A Saga of Heartbreak
The plot unfolds as follows: the count has traveled ceaselessly the earth in sorrow for 400 years since he became undead, a penalty due to his blasphemous mourning following the loss of his spouse Elisabeta (a first film part for Zoë Bleu, the offspring of Rosanna Arquette). Dracula has been searching, searching, searching for a lady who could be the rebirth of his lost love. By cruel fate, the chosen woman turns out to be Mina (portrayed once more by Bleu), the modest betrothed of Dracula’s feeble property handler, Jonathan Harker (enacted by Ewens Abid), who lately visited to the count’s castle to discuss his real estate holdings and the tiny painting of the lovely Mina attracted Dracula’s gaze.
Besson’s Direction and Lighthearted Touch
Besson structures Dracula’s flashback sequence of worldwide travels in various outrageous costumes skillfully, and he is not above offering some comedy moments with a distinctly Mel Brooks flavour – for example the vampire’s constant unsuccessful tries to commit suicide following Elisabeta’s passing, as well as comical sequences that result after Dracula sprays himself in a certain perfume in historic Florence, which makes him compelling to the opposite sex. Outlandish but entertaining.
Dracula is available digitally beginning on the first of December and on DVD and Blu-ray starting the twenty-second of December. It plays in Australian cinemas from 5 February 2026.
