Dracula Review – Luc Besson’s Love-Struck Reimagining of the Gothic Classic is Absurd but Entertaining

Perhaps interest is limited for a fresh take of Dracula from Luc Besson, the celebrated French director for glossiness and bloat. And yet, one must admit: his richly designed romantic vampire tale boasts bold vision and flair – and with its B-movie charm, I’m not sure I wouldn’t prefer compared with Robert Eggers’s recent, solemnly classy version of Nosferatu. A few strange elements appear, like a particular moment that seems to depict a land border between France and Romania.

Waltz as a Witty Yet Careworn Vampire-Hunting Priest

Christoph Waltz plays a witty yet careworn vampire-hunting priest – I can’t believe he hasn’t played this character previously – who arrives in Paris in 1889 during the centennial of the French Revolution. So does the evil Count Dracula, brought to life by the body-horror veteran Caleb Landry Jones with a mangled central European accent reminiscent of Carell’s Gru character in the Despicable Me films. This is a part he seemed destined to play.

The Plot: A Saga of Heartbreak

The plot unfolds as follows: the count has traveled ceaselessly the world in sorrow over four centuries since he became undead, a penalty due to his blasphemous mourning over the death of his wife, Elisabeta (an inaugural screen appearance for Zoë Bleu, the offspring of Rosanna Arquette). The count has looked tirelessly for a lady who could be the reincarnation of his lost love. Unfortunately, the fortunate female is revealed as Mina (also Bleu, of course), the demure fiancee of Dracula’s feeble property handler, Jonathan Harker (played by Ewens Abid), who lately visited to the vampire’s estate to review his real estate holdings and the tiny painting of the winsome Mina drew the vampire’s attention.

Besson’s Handling and Humorous Style

Besson arranges Dracula’s second-act backstory of international journeys wearing flamboyant outfits skillfully, and he doesn’t shy away from offering funny bits in the style of Mel Brooks – for example the count’s repeated and futile attempts to end his own life following Elisabeta’s passing, as well as absurd moments that follow Dracula sprays himself in a certain perfume during the 1700s in Florence, which causes him to be compelling to the opposite sex. Absurd yet engaging.

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