Dracula Movie Critique – Luc Besson’s Love-Struck Reimagining of the Classic Horror Story is Ridiculous but Entertaining

Perhaps interest is limited for a fresh take of Dracula from Luc Besson, the filmmaker known for glossiness and bloat. And yet, one must admit: his opulently crafted romantic vampire tale displays creativity and style – and amid its theatrical camp, I’m not sure I wouldn’t prefer over Robert Eggers’s recent, solemnly classy version of Nosferatu. A few strange elements appear, like a particular moment that appears to show a land border between France and Romania.

The Veteran Actor as a Witty Yet Careworn Vampire-Hunting Priest

Christoph Waltz embodies a humorous yet burdened vampire-hunting priest – I can’t believe he hasn’t played this character previously – who ends up in Paris in 1889 for the French Revolution centenary celebrations. So does the sinister Dracula, enacted by the expert in grotesque roles Caleb Landry Jones speaking in a twisted regional dialect evoking Steve Carell’s Gru in the Despicable Me films. This is a part he seemed destined to play.

The Story: A Saga of Heartbreak

Here’s the premise: Dracula has traveled ceaselessly the world in torment over four centuries since he became undead, a punishment for his faithless sorrow following the loss of his beloved Elisabeta (a first film part for Zoë Bleu, daughter of Rosanna Arquette). Dracula has sought relentlessly for a female who could be the reincarnation of his lost love. As ill fortune would have it, the lucky lady turns out to be Mina (again played by Bleu), the modest betrothed of Dracula’s wimpish land agent, Jonathan Harker (played by Ewens Abid), who just traveled to the vampire’s estate to discuss his property portfolio and the tiny painting of the lovely Mina drew the vampire’s attention.

Besson’s Direction and Lighthearted Touch

Besson arranges Dracula’s middle-section history of global roaming in various outrageous costumes confidently, and he willingly includes giving us funny bits reminiscent of Mel Brooks – such as the vampire’s constant unsuccessful tries to end his own life after Elisabeta’s death, along with absurd moments that result after Dracula applies to himself with a specific fragrance in historic Florence, which makes him irresistible to women. Ridiculous and watchable.

Dracula is on digital platforms starting December 1st and for physical purchase from 22 December. It will be shown in Australian cinemas starting February 5, 2026.