Dracula Review – Besson’s Passionate Revamp of the Timeless Gothic Tale is Absurd but Watchable

It’s possible interest is limited for a fresh take of Dracula from Luc Besson, the celebrated French director for glossiness and bloat. However, it has to be said: his lavishly upholstered romantic vampire tale displays creativity and style – and with its B-movie charm, I might just favor over Eggers’s dignified recent take of Nosferatu. There are some very bizarre touches, like a particular moment that appears to show a geographic divide between France and Romania.

Waltz as a Witty Yet Careworn Vampire-Hunting Priest

Christoph Waltz portrays a clever but beleaguered cleric fighting vampires – it’s surprising he never took on this role before – who finds himself in Paris in 1889 for the French Revolution centenary celebrations. The same goes for the evil Count Dracula, played by the expert in grotesque roles Caleb Landry Jones using a distorted Eastern European tone evoking the voice of Gru by Steve Carell from the Despicable Me comedies. This character he seemed destined to play.

The Plot: A Tale of Love and Loss

The story is this: the vampire lord has traveled ceaselessly the globe in torment over four centuries since he became undead, a consequence for his irreligious grief after the passing of his wife, Elisabeta (a first film part for Zoë Bleu, the offspring of Rosanna Arquette). The count has looked tirelessly for a lady who could be the reincarnation of his deceased partner. By cruel fate, the lucky lady proves to be Mina (portrayed once more by Bleu), the reserved future wife of the count’s timid estate manager, Jonathan Harker (Ewens Abid), who lately visited to the count’s castle to review his land assets and the small picture of the lovely Mina drew the vampire’s attention.

Besson’s Direction and Lighthearted Touch

Besson organizes Dracula’s second-act backstory of international journeys wearing flamboyant outfits skillfully, and he is not above offering funny bits in the style of Mel Brooks – such as Dracula’s ongoing failed efforts to commit suicide after Elisabeta’s death, as well as farcical scenes that follow Dracula douses himself using a particular scent in 18th-century Florence, which causes him to be compelling to the opposite sex. Ridiculous and watchable.

Dracula is on digital platforms starting December 1st and in disc format from 22 December. It plays in Australian cinemas from 5 February 2026.