Dracula Review – Besson’s Love-Struck Reimagining of the Classic Horror Story is Absurd but Watchable

It’s possible interest is limited for a new version of Dracula from Luc Besson, the celebrated French director for stylish excess. However, it’s worth noting: his richly designed romantic vampire tale displays creativity and style – and with its B-movie charm, it could be preferable over Robert Eggers’s recent, solemnly classy version of Nosferatu. A few strange elements appear, like a particular moment that appears to show a territorial boundary between France and Romania.

The Veteran Actor as a Clever but Weary Clergyman Hunting Vampires

Christoph Waltz embodies a witty yet careworn man of the church pursuing the undead – I can’t believe he hasn’t played such a part earlier – who ends up in Paris in 1889 to mark the 100th anniversary of the French Revolution. Likewise present is the evil Count Dracula, played by the expert in grotesque roles Caleb Landry Jones using a distorted Eastern European tone reminiscent of the voice of Gru by Steve Carell in the Despicable Me films. It’s a role that he too was born to take on.

The Story: A Chronicle of Longing

The plot unfolds as follows: the count has traveled ceaselessly the world in anguish for 400 years since he became undead, a consequence for his irreligious grief over the death of his spouse Elisabeta (an inaugural screen appearance for Zoë Bleu, the offspring of Rosanna Arquette). The count has looked tirelessly for some woman who could be the rebirth of his deceased partner. Unfortunately, the chosen woman proves to be Mina (also Bleu, of course), the demure fiancee of the count’s timid estate manager, Jonathan Harker (Ewens Abid), who just traveled to Dracula’s fortress to discuss his real estate holdings and the small picture of the lovely Mina attracted Dracula’s gaze.

The Filmmaker’s Approach and Humorous Style

Besson arranges Dracula’s flashback sequence of worldwide travels sporting extravagant attire confidently, and he willingly includes providing humorous scenes in the style of Mel Brooks – such as Dracula’s ongoing failed efforts to kill himself following Elisabeta’s passing, as well as comical sequences that result after Dracula douses himself with a specific fragrance in 18th-century Florence, which makes him unavoidably attractive to females. Outlandish but entertaining.

Dracula is available digitally starting December 1st and in disc format from 22 December. It will be shown in Australian cinemas from 5 February 2026.