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Dracula Movie Critique – The French Director’s Love-Struck Revamp of the Timeless Gothic Tale is Ridiculous but Entertaining
It’s possible there is no great enthusiasm for an updated adaptation of Dracula from Luc Besson, the celebrated French director for glossiness and bloat. Still, it’s worth noting: his opulently crafted love story with vampires boasts bold vision and flair – and in all its Hammer-y cheesiness, I’m not sure I wouldn’t prefer to it to Robert Eggers’s recent, solemnly classy version of Nosferatu. There are some very bizarre touches, such as a scene that appears to show a geographic divide between France and Romania.
Christoph Waltz as a Witty Yet Careworn Vampire-Hunting Priest
Christoph Waltz plays a humorous yet burdened vampire-hunting priest – it feels natural for him to tackle such a part earlier – who ends up in Paris in 1889 to mark the 100th anniversary of the French Revolution. Likewise present is the malevolent vampire count, enacted by the seasoned horror actor Caleb Landry Jones using a distorted Eastern European tone evoking Steve Carell’s Gru of the Despicable Me series. This character he seemed destined to play.
The Story: A Tale of Love and Loss
Here’s the premise: the vampire lord has traveled ceaselessly the globe in torment for 400 years after his transformation into a vampire, a penalty for his faithless sorrow over the death of his spouse Elisabeta (a movie debut role for Zoë Bleu, Rosanna Arquette’s child). The count has sought relentlessly for a female who would be the rebirth of his deceased partner. Unfortunately, the chosen woman proves to be Mina (portrayed once more by Bleu), the demure fiancee of Dracula’s wimpish land agent, Jonathan Harker (enacted by Ewens Abid), who lately visited to the vampire’s estate to review his property portfolio and the tiny painting of the lovely Mina caught the count’s hooded eye.
Besson’s Direction and Humorous Style
Besson structures Dracula’s second-act backstory of global roaming wearing flamboyant outfits skillfully, and he is not above giving us some comedy moments in the style of Mel Brooks – like Dracula’s ongoing failed efforts to kill himself after Elisabeta’s death, along with farcical scenes that follow Dracula sprays himself in a certain perfume during the 1700s in Florence, which causes him to be compelling to the opposite sex. Outlandish but entertaining.
Dracula is available digitally starting December 1st and in disc format from December 22nd. It screens in Australian cinemas starting February 5, 2026.
Elizabeth Alvarez
Elara is a seasoned strategist with over a decade of experience in corporate leadership and military tactics.
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