Dracula Review – Besson’s Love-Struck Revamp of the Classic Horror Story is Outlandish but Watchable

It’s possible there is no great enthusiasm for a new version of Dracula from Luc Besson, the celebrated French director for stylish excess. Still, it’s worth noting: his lavishly upholstered vampire romance displays creativity and style – and amid its theatrical camp, I’m not sure I wouldn’t prefer to it to Eggers’s dignified recent take of Nosferatu. Odd details emerge, like a particular moment that appears to show a land border between France and Romania.

Christoph Waltz as a Witty Yet Careworn Priest Tracking the Undead

Christoph Waltz plays a humorous yet burdened man of the church pursuing the undead – I can’t believe he hasn’t played such a part earlier – who finds himself in Paris in 1889 for the French Revolution centenary celebrations. The same goes for the malevolent vampire count, played by the expert in grotesque roles Caleb Landry Jones with a mangled central European accent similar to the voice of Gru by Steve Carell from the Despicable Me comedies. It’s a role suits him perfectly.

The Story: A Chronicle of Longing

Here’s the premise: the count has been restlessly roaming the earth in torment over four centuries after his transformation into a vampire, a punishment due to his blasphemous mourning over the death of his beloved Elisabeta (an inaugural screen appearance for Zoë Bleu, Rosanna Arquette’s child). The count has looked tirelessly for a female who could be the reincarnation of his lost love. Unfortunately, the chosen woman proves to be Mina (portrayed once more by Bleu), the reserved future wife of Dracula’s wimpish land agent, Jonathan Harker (played by Ewens Abid), who just traveled to the vampire’s estate to negotiate his property portfolio and the small picture of the charming Mina attracted Dracula’s gaze.

Besson’s Handling and Humorous Style

Besson structures Dracula’s middle-section history of international journeys wearing flamboyant outfits with a sure hand, and he is not above giving us funny bits in the style of Mel Brooks – like the vampire’s constant unsuccessful tries to commit suicide post-Elisabeta’s demise, as well as absurd moments that result after Dracula sprays himself in a certain perfume in historic Florence, that renders him compelling to the opposite sex. Outlandish but entertaining.

Dracula can be streamed online from 1 December and for physical purchase from December 22nd. It screens in Australian cinemas from 5 February 2026.