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Dracula Movie Critique – Besson’s Love-Struck Reinterpretation of the Classic Horror Story is Absurd but Engaging
It’s possible there is no great enthusiasm for an updated adaptation of Dracula from Luc Besson, the filmmaker known for stylish excess. However, it has to be said: his opulently crafted love story with vampires has ambition and panache – and with its B-movie charm, I’m not sure I wouldn’t prefer compared with the recent, stately interpretation by Robert Eggers of Nosferatu. A few strange elements appear, like a particular moment that appears to show a geographic divide between France and Romania.
Christoph Waltz as a Clever but Weary Priest Tracking the Undead
Christoph Waltz portrays a clever but beleaguered vampire-hunting priest – it’s surprising he never took on this character previously – who ends up in Paris in 1889 to mark the 100th anniversary of the French Revolution. So does the sinister Dracula, played by the body-horror veteran Caleb Landry Jones with a mangled central European accent evoking the voice of Gru by Steve Carell of the Despicable Me series. This character that he too was born to take on.
The Narrative: A Chronicle of Longing
The plot unfolds as follows: Dracula has traveled ceaselessly the globe in torment over four centuries following his rise as one of the undead, a punishment for his faithless sorrow over the death of his spouse Elisabeta (a movie debut role for Zoë Bleu, daughter of Rosanna Arquette). Dracula has looked tirelessly for a lady who might be the return of his deceased partner. Unfortunately, the lucky lady turns out to be Mina (again played by Bleu), the reserved future wife of Dracula’s wimpish land agent, Jonathan Harker (Ewens Abid), who has recently been to Dracula’s fortress to review his real estate holdings and the tiny painting of the charming Mina drew the vampire’s attention.
Besson’s Handling and Humorous Style
Besson organizes Dracula’s second-act backstory of global roaming sporting extravagant attire skillfully, and he is not above providing humorous scenes in the style of Mel Brooks – like the vampire’s constant unsuccessful tries to end his own life following Elisabeta’s passing, as well as farcical scenes that occur when Dracula applies to himself with a specific fragrance in historic Florence, that renders him unavoidably attractive to females. Ridiculous and watchable.
Dracula is on digital platforms starting December 1st and for physical purchase from 22 December. It plays in Australian cinemas from 5 February 2026.
Kenneth Bell
A tech strategist and writer passionate about digital transformation and emerging technologies.
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