Drácula

Luc Besson's *Dracula* tries to be bold and artistic but ends up as an over-stylized, slow-moving mess. While the visuals are striking, they can't hide the film's self-indulgent pacing and lack of real scares. The story drags, weighed down by pretentious themes and melodramatic performances. Dracula himself is more mopey than menacing, and the supposed emotional depth feels forced. Strangely, the film borrows heavily in tone and aesthetic from Patrick Süskind's *Perfume*-the same obsessive atmosphere, the same brooding romanticism-but without the narrative clarity or psychological sharpness. Besson's ambition to "reimagine" the legend results in a film that's more style than substance. Despite its glossy presentation, this version of *Dracula* is cold, derivative, and ultimately forgettable.

Luc Besson's Dracula is not a traditional horror film. Instead, it's a dark romantic epic that reimagines the Dracula legend through a poetic and psychological lens. Set in a brooding, visually stunning atmosphere, the film explores eternal longing, forbidden love, and the isolation of immortality.

Rather than focusing on gore or action, Besson's take is intimate and character-driven. Dracula is portrayed as a tragic, timeless figure, torn between his monstrous nature and a deep, lingering humanity. The story unfolds with elegance, blending gothic elements, haunting visuals, and emotional depth - all wrapped in Besson's signature cinematic flair.

It takes real nerve to tackle Bram Stoker's most-filmed anti-hero in 2025. First, the role has already been immortalised by everyone from Bela Lugosi to Gary Oldman, so comparisons are savage. Second, gothic horror sits miles away from Luc Besson's usual playground of kinetic sci-fi (The Fifth Element) and neon crime capers (Léon). Walking in, I honestly wasn't sure whether we'd get an idiosyncratic triumph or a beautiful train wreck.

Happily, it's closer to the former. Visually, the film is a feast: swirling Carpathian blizzards bleed into candle-lit castle corridors, while Besson's trademark flair for colour and movement gives the vampire myth a fresh, almost operatic sheen. The cast meet the challenge head-on-Dracula himself is equal parts seductively reptilian and heartbreakingly lonely, and the supporting ensemble never drops the ball. I found myself grinning at several sly nods to past adaptations yet never felt trapped in pastiche.

Where the film stumbles is in the marrow of its story. The plot beats are solid but seldom surprising, and a mid-act detour about Dracula's centuries-old heartbreak lingers a few crimson drops too long. Trim twenty minutes, sharpen a couple of character arcs, and we might be talking instant classic. As it stands, Dracula is a very good film-bold, stylistically sumptuous, thoroughly entertaining-but not quite the genre-redefining masterpiece its ambition hints at.

Verdict: 7.5 / 10. Worth the ticket for the imagery and performances alone; just don't expect it to eclipse Coppola's fang-print on the legend.

Really enjoyed Luc Besson's Dracula. It's dark and stylish without trying too hard. Christopher Waltz was amazing, this could be expected. And honestly, the whole cast was just beautiful to look at. The visuals, the costumes, the mood... all of it was gorgeous. Definitely worth a watch if you're into gothic stories with a fantasy touch.

This reimagining of Dracula is an excellent addition to the classic story. The performances by the main actors, Zoë Bleu and Caleb Landry Jones, are excellent. Especially newcomer Zoë Bleu is outstanding, delivering an excellent performance and looking stunning on screen. The romance and chemistry between the two in the film's opening act are portrayed in a great and kind of sweet manner. By contrast, the relationship between Jonathan Harker and Mina is left completely unexplored and lacks any real development. Overall, Jonathan's character feels shallow and underdeveloped. Mina's friend Maria, on the other hand, comes across as oddly overacted and doesn't fit the film's historical setting.

The movie boasts impressive visuals. The set design, costumes, and cinematography are beautiful. Only the gargoyles/goblins feel oddly out of place and not particularly well executed for a big-budget 2025 production.

There are a few minor errors-such as modern toy balloons appearing at a 19th-century funfair-that are unfortunate and should have been avoided. Still, these are small criticisms of an otherwise highly enjoyable and well-crafted film that delivers a fresh, visually striking take on the Dracula legend. Recommended!