Dracula Review – The French Director’s Romantic Revamp of the Classic Horror Story is Outlandish but Entertaining

It’s possible audiences aren’t clamoring for a new version of Dracula from Luc Besson, the filmmaker known for stylish excess. And yet, it has to be said: his richly designed romantic vampire tale displays creativity and style – and with its B-movie charm, it could be preferable over the recent, stately interpretation by Robert Eggers of Nosferatu. A few strange elements appear, such as a scene that looks like it presents a land border between France and Romania.

Waltz as a Humorously Exhausted Vampire-Hunting Priest

Christoph Waltz embodies a clever but beleaguered man of the church pursuing the undead – it’s surprising he never took on this role before – who ends up in Paris in 1889 to mark the 100th anniversary of the French Revolution. Likewise present is the sinister Dracula, brought to life by the expert in grotesque roles Caleb Landry Jones using a distorted Eastern European tone evoking Steve Carell’s Gru from the Despicable Me comedies. This character suits him perfectly.

The Plot: A Tale of Love and Loss

The story is this: the vampire lord has wandered endlessly the globe in torment for hundreds of years since he became undead, a punishment for his irreligious grief over the death of his wife, Elisabeta (an inaugural screen appearance for Zoë Bleu, the offspring of Rosanna Arquette). Dracula has been searching, searching, searching for a female who might be the return of his deceased partner. Unfortunately, the lucky lady is revealed as Mina (also Bleu, of course), the demure fiancee of Dracula’s feeble property handler, Jonathan Harker (enacted by Ewens Abid), who has recently been to the count’s castle to discuss his land assets and the tiny painting of the winsome Mina caught the count’s hooded eye.

Besson’s Direction and Comic Flair

Besson organizes Dracula’s second-act backstory of global roaming wearing flamboyant outfits skillfully, and he doesn’t shy away from offering funny bits reminiscent of Mel Brooks – for example the vampire’s constant unsuccessful tries to kill himself after Elisabeta’s death, along with farcical scenes that follow Dracula sprays himself using a particular scent in historic Florence, that renders him irresistible to women. Outlandish but entertaining.

Dracula is on digital platforms from 1 December and for physical purchase from December 22nd. It screens in Australian cinemas starting February 5, 2026.