Dracula Review – Luc Besson’s Romantic Reimagining of the Timeless Gothic Tale is Absurd but Entertaining

It’s possible interest is limited for a new version of Dracula from Luc Besson, the celebrated French director for polished extravagance. However, one must admit: his opulently crafted romantic vampire tale displays creativity and style – and amid its theatrical camp, I might just favor to it to the recent, stately interpretation by Robert Eggers of Nosferatu. Odd details emerge, like a particular moment that seems to depict a geographic divide between France and Romania.

The Veteran Actor as a Humorously Exhausted Vampire-Hunting Priest

Christoph Waltz portrays a clever but beleaguered man of the church pursuing the undead – it’s surprising he never took on such a part earlier – who ends up in Paris in 1889 to mark the 100th anniversary of the French Revolution. So does the malevolent vampire count, enacted by the body-horror veteran Caleb Landry Jones using a distorted Eastern European tone similar to the voice of Gru by Steve Carell of the Despicable Me series. This character he seemed destined to play.

The Plot: A Saga of Heartbreak

The plot unfolds as follows: the vampire lord has been restlessly roaming the earth in sorrow over four centuries since he became undead, a penalty for his faithless sorrow following the loss of his beloved Elisabeta (a first film part for Zoë Bleu, the offspring of Rosanna Arquette). The count has looked tirelessly for some woman who could be the return of his deceased partner. By cruel fate, the chosen woman proves to be Mina (portrayed once more by Bleu), the reserved future wife of Dracula’s wimpish land agent, Jonathan Harker (Ewens Abid), who lately visited to the vampire’s estate to discuss his real estate holdings and the small picture of the lovely Mina attracted Dracula’s gaze.

Besson’s Handling and Comic Flair

Besson arranges Dracula’s middle-section history of international journeys in various outrageous costumes skillfully, and he doesn’t shy away from giving us funny bits in the style of Mel Brooks – like the vampire’s constant unsuccessful tries to end his own life after Elisabeta’s death, along with farcical scenes that occur when Dracula sprays himself with a specific fragrance during the 1700s in Florence, that renders him irresistible to women. Absurd yet engaging.

Dracula is available digitally from 1 December and for physical purchase starting the twenty-second of December. It plays in Australian cinemas starting February 5, 2026.