Dracula Movie Critique – Besson’s Romantic Revamp of the Classic Horror Story is Absurd but Engaging

Maybe there is no great enthusiasm for an updated adaptation of Dracula from Luc Besson, the filmmaker known for polished extravagance. And yet, it’s worth noting: his lavishly upholstered romantic vampire tale boasts bold vision and flair – and with its B-movie charm, I’m not sure I wouldn’t prefer over Robert Eggers’s recent, solemnly classy version of Nosferatu. Odd details emerge, such as a scene that looks like it presents a land border between France and Romania.

Christoph Waltz as a Humorously Exhausted Vampire-Hunting Priest

Christoph Waltz embodies a humorous yet burdened vampire-hunting priest – it feels natural for him to tackle such a part earlier – who finds himself in Paris in 1889 for the French Revolution centenary celebrations. The same goes for the malevolent vampire count, enacted by the body-horror veteran Caleb Landry Jones with a mangled central European accent evoking the voice of Gru by Steve Carell in the Despicable Me films. This character suits him perfectly.

The Story: A Chronicle of Longing

The plot unfolds as follows: Dracula has traveled ceaselessly the world in anguish over four centuries since he became undead, a punishment for his irreligious grief after the passing of his spouse Elisabeta (an inaugural screen appearance for Zoë Bleu, daughter of Rosanna Arquette). The count has looked tirelessly for a female who could be the reincarnation of his departed beloved. By cruel fate, the fortunate female is revealed as Mina (portrayed once more by Bleu), the reserved future wife of Dracula’s wimpish land agent, Jonathan Harker (played by Ewens Abid), who lately visited to Dracula’s fortress to negotiate his land assets and the small picture of the lovely Mina caught the count’s hooded eye.

Besson’s Direction and Lighthearted Touch

Besson structures Dracula’s second-act backstory of international journeys wearing flamboyant outfits confidently, and he willingly includes providing some comedy moments reminiscent of Mel Brooks – such as the vampire’s constant unsuccessful tries to commit suicide following Elisabeta’s passing, in addition to comical sequences that follow Dracula applies to himself in a certain perfume during the 1700s in Florence, which causes him to be compelling to the opposite sex. Absurd yet engaging.

Dracula is on digital platforms beginning on the first of December and in disc format from December 22nd. It screens in Australian cinemas starting February 5, 2026.