Dracula Movie Critique – The French Director’s Passionate Reimagining of the Timeless Gothic Tale is Outlandish but Watchable
It’s possible there is no great enthusiasm for a fresh take of Dracula from Luc Besson, the filmmaker known for polished extravagance. Still, one must admit: his opulently crafted romantic vampire tale displays creativity and style – and in all its Hammer-y cheesiness, it could be preferable to it to the recent, stately interpretation by Robert Eggers of Nosferatu. A few strange elements appear, like a particular moment that looks like it presents a geographic divide between France and Romania.
Christoph Waltz as a Witty Yet Careworn Vampire-Hunting Priest
Christoph Waltz portrays a humorous yet burdened cleric fighting vampires – I can’t believe he hasn’t played this character previously – who arrives in Paris in 1889 to mark the 100th anniversary of the French Revolution. Likewise present is the evil Count Dracula, played by the expert in grotesque roles Caleb Landry Jones speaking in a twisted regional dialect similar to Carell’s Gru character of the Despicable Me series. It’s a role suits him perfectly.
The Plot: A Tale of Love and Loss
The plot unfolds as follows: the count has been restlessly roaming the world in anguish for 400 years since he became undead, a punishment due to his blasphemous mourning following the loss of his wife, Elisabeta (a first film part for Zoë Bleu, daughter of Rosanna Arquette). the vampire has looked tirelessly for some woman who would be the rebirth of his deceased partner. Unfortunately, the lucky lady turns out to be Mina (again played by Bleu), the reserved future wife of Dracula’s feeble property handler, Jonathan Harker (enacted by Ewens Abid), who has recently been to the vampire’s estate to discuss his property portfolio and the tiny painting of the winsome Mina caught the count’s hooded eye.
Besson’s Direction and Humorous Style
Besson structures Dracula’s flashback sequence of international journeys sporting extravagant attire confidently, and he willingly includes offering some comedy moments with a distinctly Mel Brooks flavour – for example Dracula’s ongoing failed efforts to commit suicide post-Elisabeta’s demise, in addition to farcical scenes that occur when Dracula sprays himself using a particular scent in 18th-century Florence, that renders him irresistible to women. Ridiculous and watchable.
Dracula is on digital platforms starting December 1st and on DVD and Blu-ray from December 22nd. It plays in Australian cinemas beginning on the fifth of February, 2026.
