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

Maybe interest is limited for a fresh take of Dracula from Luc Besson, the celebrated French director for polished extravagance. Still, one must admit: his richly designed romantic vampire tale boasts bold vision and flair – and in all its Hammer-y cheesiness, it could be preferable compared with the recent, stately interpretation by Robert Eggers of Nosferatu. A few strange elements appear, including one shot that appears to show a geographic divide between France and Romania.

Christoph Waltz as a Clever but Weary Vampire-Hunting Priest

Christoph Waltz plays a clever but beleaguered vampire-hunting priest – it’s surprising he never took on this role before – who arrives in Paris in 1889 during the centennial of the French Revolution. The same goes for the sinister Dracula, brought to life by the expert in grotesque roles Caleb Landry Jones with a mangled central European accent evoking the voice of Gru by Steve Carell from the Despicable Me comedies. It’s a role he seemed destined to play.

The Plot: A Saga of Heartbreak

Here’s the premise: the count has traveled ceaselessly the world in torment over four centuries following his rise as one of the undead, a consequence for his faithless sorrow after the passing of his beloved Elisabeta (a movie debut role for Zoë Bleu, Rosanna Arquette’s child). The count has looked tirelessly for a lady who could be the rebirth of his lost love. Unfortunately, the fortunate female proves to be Mina (again played by Bleu), the demure fiancee of the count’s timid estate manager, Jonathan Harker (Ewens Abid), who has recently been to the vampire’s estate to negotiate his land assets and whose miniature portrait of the lovely Mina caught the count’s hooded eye.

Besson’s Handling and Humorous Style

Besson arranges Dracula’s second-act backstory of worldwide travels wearing flamboyant outfits with a sure hand, and he doesn’t shy away from offering funny bits reminiscent of Mel Brooks – for example the count’s repeated and futile attempts to kill himself post-Elisabeta’s demise, as well as farcical scenes that result after Dracula douses himself using a particular scent during the 1700s in Florence, that renders him unavoidably attractive to females. Absurd yet engaging.

Dracula is on digital platforms starting December 1st and on DVD and Blu-ray from 22 December. It plays in Australian cinemas from 5 February 2026.