Dracula Review – The French Director’s Passionate Revamp of the Classic Horror Story is Outlandish but Engaging

Maybe there is no great enthusiasm for a new version of Dracula from Luc Besson, the filmmaker known for polished extravagance. However, it’s worth noting: his opulently crafted romantic vampire tale has ambition and panache – and amid its theatrical camp, I’m not sure I wouldn’t prefer over the recent, stately interpretation by Robert Eggers of Nosferatu. Odd details emerge, like a particular moment that looks like it presents a territorial boundary between France and Romania.

Waltz as a Witty Yet Careworn Clergyman Hunting Vampires

Christoph Waltz embodies a humorous yet burdened cleric fighting vampires – it feels natural for him to tackle such a part earlier – who ends up in Paris in 1889 during the centennial of the French Revolution. Likewise present is the evil Count Dracula, brought to life by the expert in grotesque roles Caleb Landry Jones using a distorted Eastern European tone similar to Carell’s Gru character of the Despicable Me series. This is a part suits him perfectly.

The Plot: A Tale of Love and Loss

The story is this: the count has been restlessly roaming the globe in torment over four centuries since he became undead, a consequence due to his blasphemous mourning after the passing of his wife, Elisabeta (a first film part for Zoë Bleu, daughter of Rosanna Arquette). the vampire has sought relentlessly for a lady who could be the return of his lost love. Unfortunately, the fortunate female turns out to be Mina (again played by Bleu), the modest betrothed of Dracula’s wimpish land agent, Jonathan Harker (played by Ewens Abid), who just traveled to the count’s castle to negotiate his land assets and the small picture of the charming Mina attracted Dracula’s gaze.

Besson’s Direction and Humorous Style

Besson structures Dracula’s middle-section history of worldwide travels in various outrageous costumes skillfully, and he doesn’t shy away from giving us humorous scenes reminiscent of Mel Brooks – for example the count’s repeated and futile attempts to commit suicide post-Elisabeta’s demise, as well as farcical scenes that follow Dracula douses himself in a certain perfume during the 1700s in Florence, which causes him to be unavoidably attractive to females. Absurd yet engaging.

Dracula is on digital platforms starting December 1st and for physical purchase from December 22nd. It plays in Australian cinemas from 5 February 2026.