It’s a challenge for a “Dracula” fan to watch the latest version directed by Luc Besson. Released on February 6, this adaptation adds little to the rich legacy of Bram Stoker’s story. Despite its colorful visuals reminiscent of Besson’s earlier work in “The Fifth Element,” the film struggles with a weak script that fails to capture the essence of the vampire saga.
The story begins 400 years earlier, presenting a younger Prince Vladimir, played by Caleb Landry Jones. The prince is shown in love with Princess Elisabeta, depicted as a happy couple. This element of their relationship is a refreshing twist but doesn’t quite compensate for the overall lack of character depth. When tragedy strikes and Elisabeta is killed, Vladimir vows to become Dracula—a decision that takes this familiar tale into darker territories. However, Besson’s dialogue often feels repetitive and lacks the emotional weight necessary to engage the audience.
A unique aspect of the film is its attempt to blend gothic romance with action. However, the intended emotional depth is overshadowed by moments that appear more comedic than chilling. From the visuals to the storyline, the film feels like a missed opportunity to explore the true horror of Dracula’s curse.
As the narrative unfolds and Dracula reaches France in 1889, the film revisits familiar tropes from vampire lore. It tries to portray Dracula as a romantic hero, yet ends up feeling like just another entry in an oversaturated genre. The film borrows stylistic visuals from past adaptations, making the comparisons even more apparent, particularly against Robert Eggers’ “Nosferatu,” which has a stronger narrative foundation.
In terms of performances, Jones’ portrayal is lively, yet it sometimes feels disconnected from the story’s mood. He shares a complex connection with Mina Murray, played by Zoë Bleu, which hints at a deeper romance but ultimately feels shallow. This lack of chemistry detracts from pivotal moments that should resonate strongly with viewers.
One standout in the film is Christoph Waltz, who plays a priest hunting Dracula. His conversations about morality add some intellectual flair, but his performance lacks the energy to keep this depth engaging. Despite the film’s two-hour runtime, it struggles to maintain a compelling pace, reminding viewers of how crucial rhythm is in both love stories and horror films.
Editing by Lucas Fabiani adds to the film’s comedic attempts, but not even the spirited performances can mask its shortcomings. With over 200 adaptations of “Dracula” already made, this version doesn’t bring anything new or exciting to the table. While it may draw viewers into theaters, it fails to leave a lasting impression.
In summary, Besson’s “Dracula” captures beautiful visuals but doesn’t deliver the intensity or allure that fans crave in a good vampire tale. Its message about love and immortality barely scratches the surface, and the film might leave audiences questioning its relevance.
Grade: C-
For further exploration of the evolution of vampire films, you can check out this insightful piece from The A.V. Club.
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