Dracula

It’s been a good run over the last few years for the classic Universal Monsters. The big screen has once again been graced by the likes of The Wolf Man, The Invisible Man, Frankenstein, and of course Dracula, more than a few times. It’s safe to say we’re still all in on these monsters, or they wouldn’t keep bringing them back. Now Luc Besson joins the party with his take on the classic tale of Dracula — and let’s just hope this one isn’t for the bats.

Vlad (Caleb Landry Jones) is a prince deeply in love with Elisabeta (Zoë Bleu). If it were up to him, he would spend every waking moment with her, but war calls and he must answer. While he is away, Elisabeta meets her fate, and Vlad arrives too late to save her. Consumed by grief and rage, he kills a priest, curses God, and accepts the damnation placed upon him, vowing to one day bring her back.

Four hundred years pass as Vlad continues searching for his lost love. A visiting lawyer, Jonathan (Ewens Abid), may hold the key to her whereabouts. But while Vlad searches for love, a determined priest (Christoph Waltz) is searching for him, and believes Maria (Matilda De Angelis) may lead him straight to the vampire. As both men follow their separate paths, destiny pulls them closer together. Vlad finally finds Elisabeta once more, ready to spend eternity with her — but a happy ending may not be in the cards, as the priest closes in on what he’s been hunting.

Written by Luc Besson and adapted from Bram Stoker’s novel, Dracula, this version leans heavily into the romance of the story, spending less time trying to frighten and more time exploring love and longing. This version feels closer in spirit to Coppola’s 1992 Dracula film than to the more recent Nosferatu film, though Besson adds his own peculiar touches that work for the most part. This is a more human Dracula — less driven by bloodlust and more by love, and by the quiet horror of immortality.

Above all, Dracula is a lavish visual experience with a sincere emotional core, anchored by two strong performances. Caleb Landry Jones is intense, strange, and at times haunting, while Christoph Waltz once again proves he can elevate any film simply by showing up. The cinematography beautifully captures the time and setting, giving the film much of its glow.

The tonal shifts occasionally hold it back, sometimes drifting into the bizarre or losing focus on what it wants to say. That keeps Dracula from reaching greatness, but never prevents it from being entertaining — which it consistently is. Where this version ultimately lands among the many Dracula adaptations is a conversation for another day. For now, this is the Dracula we have, and if you’re a fan of Stoker’s novel, you’ll likely enjoy the ride into darkness.