Dracula Review – Luc Besson’s Romantic Reinterpretation of the Timeless Gothic Tale is Outlandish but Entertaining

Maybe audiences aren’t clamoring for an updated adaptation of Dracula from Luc Besson, the French maestro for polished extravagance. And yet, one must admit: his richly designed romantic vampire tale boasts bold vision and flair – and amid its theatrical camp, I’m not sure I wouldn’t prefer over Robert Eggers’s recent, solemnly classy version of Nosferatu. Odd details emerge, including one shot that appears to show a land border between France and Romania.

Christoph Waltz as a Witty Yet Careworn Clergyman Hunting Vampires

Christoph Waltz plays a humorous yet burdened cleric fighting vampires – it feels natural for him to tackle this role before – who arrives in Paris in 1889 to mark the 100th anniversary of the French Revolution. Likewise present is the sinister Dracula, brought to life by the seasoned horror actor Caleb Landry Jones using a distorted Eastern European tone similar to Carell’s Gru character from the Despicable Me comedies. This character suits him perfectly.

The Story: A Tale of Love and Loss

Here’s the premise: Dracula has traveled ceaselessly the world in anguish for 400 years since he became undead, a penalty due to his blasphemous mourning over the death of his spouse Elisabeta (an inaugural screen appearance for Zoë Bleu, the offspring of Rosanna Arquette). The count has sought relentlessly for a female who might be the reincarnation of his departed beloved. As ill fortune would have it, the fortunate female turns out to be Mina (portrayed once more by Bleu), the reserved future wife of the count’s timid estate manager, Jonathan Harker (played by Ewens Abid), who lately visited to the vampire’s estate to negotiate his real estate holdings and whose miniature portrait of the charming Mina attracted Dracula’s gaze.

Besson’s Handling and Lighthearted Touch

Besson structures Dracula’s flashback sequence of international journeys wearing flamboyant outfits with a sure hand, and he willingly includes providing some comedy moments with a distinctly Mel Brooks flavour – like the vampire’s constant unsuccessful tries to commit suicide after Elisabeta’s death, along with absurd moments that occur when Dracula douses himself in a certain perfume in historic Florence, that renders him unavoidably attractive to females. Outlandish but entertaining.

Dracula is available digitally from 1 December and for physical purchase from 22 December. It plays in Australian cinemas beginning on the fifth of February, 2026.