Dracula Review – The French Director’s Passionate Revamp of the Timeless Gothic Tale is Outlandish but Entertaining

Perhaps interest is limited for an updated adaptation of Dracula from Luc Besson, the celebrated French director for stylish excess. And yet, it’s worth noting: his opulently crafted romantic vampire tale displays creativity and style – and amid its theatrical camp, I might just favor over the recent, stately interpretation by Robert Eggers of Nosferatu. Odd details emerge, such as a scene that seems to depict a land border between France and Romania.

The Veteran Actor as a Clever but Weary Vampire-Hunting Priest

Christoph Waltz portrays a humorous yet burdened man of the church pursuing the undead – I can’t believe he hasn’t played such a part earlier – who arrives in Paris in 1889 for the French Revolution centenary celebrations. Likewise present is the evil Count Dracula, played by the expert in grotesque roles Caleb Landry Jones speaking in a twisted regional dialect reminiscent of Carell’s Gru character from the Despicable Me comedies. This character suits him perfectly.

The Plot: A Chronicle of Longing

The plot unfolds as follows: the count has traveled ceaselessly the world in sorrow for hundreds of years following his rise as one of the undead, a punishment due to his blasphemous mourning over the death of his beloved Elisabeta (a first film part for Zoë Bleu, the offspring of Rosanna Arquette). The count has sought relentlessly for a lady who could be the rebirth of his departed beloved. By cruel fate, the lucky lady is revealed as Mina (also Bleu, of course), the reserved future wife of Dracula’s wimpish land agent, Jonathan Harker (Ewens Abid), who has recently been to the vampire’s estate to discuss his property portfolio and the tiny painting of the charming Mina caught the count’s hooded eye.

Besson’s Handling and Lighthearted Touch

Besson structures Dracula’s second-act backstory of worldwide travels wearing flamboyant outfits with a sure hand, and he willingly includes offering humorous scenes in the style of Mel Brooks – like the count’s repeated and futile attempts to end his own life post-Elisabeta’s demise, along with absurd moments that result after Dracula sprays himself with a specific fragrance in historic Florence, which makes him compelling to the opposite sex. Ridiculous and watchable.

Dracula is on digital platforms beginning on the first of December and for physical purchase starting the twenty-second of December. It screens in Australian cinemas from 5 February 2026.