Dracula Review – The French Director’s Passionate Revamp of the Timeless Gothic Tale is Absurd but Engaging

Maybe interest is limited for an updated adaptation of Dracula from Luc Besson, the celebrated French director for polished extravagance. And yet, one must admit: his richly designed vampire romance boasts bold vision and flair – and with its B-movie charm, I might just favor compared with Eggers’s dignified recent take of Nosferatu. Odd details emerge, like a particular moment that seems to depict a geographic divide between France and Romania.

Waltz as a Witty Yet Careworn Priest Tracking the Undead

Christoph Waltz portrays a humorous yet burdened cleric fighting vampires – 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 with a mangled central European accent reminiscent of Steve Carell’s Gru of the Despicable Me series. This character he seemed destined to play.

The Plot: A Tale of Love and Loss

Here’s the premise: the vampire lord has traveled ceaselessly the world in sorrow over four centuries following his rise as one of the undead, a consequence for his irreligious grief after the passing of his wife, Elisabeta (a first film part for Zoë Bleu, Rosanna Arquette’s child). The count has sought relentlessly for a female who could be the rebirth of his lost love. As ill fortune would have it, the fortunate female is revealed as Mina (also Bleu, of course), the modest betrothed of the count’s timid estate manager, Jonathan Harker (enacted by Ewens Abid), who lately visited to the vampire’s estate to negotiate his property portfolio and the small picture of the lovely Mina drew the vampire’s attention.

The Filmmaker’s Approach and Lighthearted Touch

Besson organizes Dracula’s middle-section history of international journeys in various outrageous costumes with a sure hand, and he doesn’t shy away from offering funny bits reminiscent of Mel Brooks – for example the vampire’s constant unsuccessful tries to end his own life post-Elisabeta’s demise, in addition to farcical scenes that follow Dracula sprays himself with a specific fragrance in historic Florence, which makes him unavoidably attractive to females. Absurd yet engaging.

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