Dracula Movie Critique – Besson’s Romantic Revamp 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 French maestro for polished extravagance. Still, it’s worth noting: his opulently crafted romantic vampire tale displays creativity and style – and with its B-movie charm, I’m not sure I wouldn’t prefer to it to Robert Eggers’s recent, solemnly classy version of Nosferatu. There are some very bizarre touches, including one shot that seems to depict a land border between France and Romania.

Christoph Waltz as a Witty Yet Careworn Priest Tracking the Undead

Christoph Waltz embodies a witty yet careworn man of the church pursuing the undead – it’s surprising he never took on such a part earlier – who finds himself in Paris in 1889 during the centennial of the French Revolution. Likewise present is the sinister Dracula, brought to life by the body-horror veteran Caleb Landry Jones speaking in a twisted regional dialect reminiscent of Carell’s Gru character in the Despicable Me films. This character 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 sorrow for 400 years since he became undead, a consequence for his faithless sorrow after the passing of his spouse Elisabeta (a first film part for Zoë Bleu, daughter of Rosanna Arquette). Dracula has been searching, searching, searching for some woman who could be the reincarnation of his departed beloved. Unfortunately, the fortunate female proves to be Mina (also Bleu, of course), the modest betrothed of Dracula’s feeble property handler, Jonathan Harker (enacted by Ewens Abid), who just traveled to the vampire’s estate to discuss his property portfolio and the small picture of the lovely Mina drew the vampire’s attention.

The Filmmaker’s Approach and Comic Flair

Besson organizes Dracula’s second-act backstory of worldwide travels sporting extravagant attire skillfully, and he willingly includes providing some comedy moments with a distinctly Mel Brooks flavour – for example Dracula’s ongoing failed efforts to end his own life post-Elisabeta’s demise, along with farcical scenes that result after Dracula applies to himself in a certain perfume during the 1700s in Florence, which makes him irresistible to women. Outlandish but entertaining.

Dracula can be streamed online from 1 December and for physical purchase from 22 December. It will be shown in Australian cinemas from 5 February 2026.