Dracula Review – The French Director’s Passionate Reimagining of the Classic Horror Story is Outlandish but Watchable

It’s possible there is no great enthusiasm for an updated adaptation of Dracula from Luc Besson, the filmmaker known for stylish excess. And yet, one must admit: his opulently crafted love story with vampires has ambition and panache – and with its B-movie charm, it could be preferable over the recent, stately interpretation by Robert Eggers of Nosferatu. There are some very bizarre touches, such as a scene that seems to depict a territorial boundary between France and Romania.

Waltz as a Witty Yet Careworn Priest Tracking the Undead

Christoph Waltz plays a witty yet careworn man of the church pursuing the undead – it’s surprising he never took on this character previously – who finds himself in Paris in 1889 to mark the 100th anniversary of the French Revolution. Likewise present is the evil Count Dracula, played by the seasoned horror actor Caleb Landry Jones using a distorted Eastern European tone similar to Carell’s Gru character in the Despicable Me films. This is a part he seemed destined to play.

The Plot: A Tale of Love and Loss

Here’s the premise: Dracula has traveled ceaselessly the world in sorrow for 400 years after his transformation into a vampire, a penalty for his irreligious grief after the passing of his beloved Elisabeta (a first film part for Zoë Bleu, daughter of Rosanna Arquette). Dracula has been searching, searching, searching for a female who might be the rebirth of his deceased partner. Unfortunately, the fortunate female turns out to be Mina (again played by Bleu), the reserved future wife of Dracula’s feeble property handler, Jonathan Harker (Ewens Abid), who has recently been to the count’s castle to negotiate his property portfolio and the small picture of the winsome Mina attracted Dracula’s gaze.

Besson’s Handling and Humorous Style

Besson organizes Dracula’s flashback sequence of international journeys sporting extravagant attire with a sure hand, and he is not above giving us humorous scenes reminiscent of Mel Brooks – for example the vampire’s constant unsuccessful tries to kill himself following Elisabeta’s passing, in addition to farcical scenes that follow Dracula sprays himself using a particular scent during the 1700s in Florence, which makes him irresistible to women. Absurd yet engaging.

Dracula is available digitally starting December 1st and on DVD and Blu-ray from December 22nd. It will be shown in Australian cinemas from 5 February 2026.