Dracula Movie Critique – Besson’s Love-Struck Reimagining of the Gothic Classic is Absurd but Engaging

Perhaps interest is limited for a new version of Dracula from Luc Besson, the French maestro for stylish excess. However, one must admit: his richly designed romantic vampire tale has ambition and panache – and amid its theatrical camp, I’m not sure I wouldn’t prefer over the recent, stately interpretation by Robert Eggers of Nosferatu. A few strange elements appear, such as a scene that looks like it presents a geographic divide between France and Romania.

Christoph Waltz as a Humorously Exhausted Priest Tracking the Undead

Christoph Waltz embodies a humorous yet burdened vampire-hunting priest – I can’t believe he hasn’t played such a part earlier – who finds himself in Paris in 1889 during the centennial of the French Revolution. The same goes for the evil Count Dracula, played by the seasoned horror actor Caleb Landry Jones using a distorted Eastern European tone reminiscent of Carell’s Gru character of the Despicable Me series. This is a part that he too was born to take on.

The Story: A Chronicle of Longing

The story is this: Dracula has traveled ceaselessly the world in torment over four centuries after his transformation into a vampire, a penalty for his faithless sorrow over the death of his spouse Elisabeta (a first film part for Zoë Bleu, the offspring of Rosanna Arquette). The count has sought relentlessly for some woman who would be the rebirth of his lost love. By cruel fate, the lucky lady proves to be Mina (again played by Bleu), the reserved future wife of Dracula’s wimpish land agent, Jonathan Harker (played by Ewens Abid), who has recently been to the vampire’s estate to discuss his property portfolio and the small picture of the charming Mina caught the count’s hooded eye.

The Filmmaker’s Approach and Humorous Style

Besson structures Dracula’s flashback sequence of worldwide travels sporting extravagant attire with a sure hand, and he willingly includes providing funny bits reminiscent of Mel Brooks – for example the vampire’s constant unsuccessful tries to commit suicide following Elisabeta’s passing, along with absurd moments that occur when Dracula douses himself using a particular scent in historic Florence, that renders him compelling to the opposite sex. Ridiculous and watchable.

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