Luc Besson’s “Dracula” Barely Breaks Skin

Dracula (Luc Besson, 2025) 2 out of 5 stars 

Riding the wave of gothic-horror films released over the last few years (with Guillermo del Toro’s Frankenstein just out at the end of 2025), director Luc Besson (Dogman) takes his stab at the classic vampire masterpiece with Dracula. Loosely following the Bram Stoker novel, Besson’s adaptation utilizes familiar characters of both the novel and cinematic adaptations of the past and weaves them into a narrative with vivid cinematography, art direction, and some fiendishly exquisite makeup designs. Yet with all the visual appeal that Dracula contains, Besson’s movie lacks the ability to deliver a fresh and compelling version of Stoker’s novel, instead offering a rather conventional retelling of a familiar story that, while decently satisfying, does not always meet, much less exceed, expectations.

Certainly Besson’s Dracula succeeds in covering the crucial bases of the lore. Costumes and sets delineate the proper Victorian aesthetic, and the performances from a bloodthirsty Caleb Landry Jones (also Dogman), a saintly Christoph Waltz (Alita: Battle Angel), and a giddy Matilda de Angelis (La vita da grandi) steal the show and drive the film. With the number of times that Bram Stoker’s book has been brought to the screen, Besson has large shoes to fill with the task of revitalizing a timeless-yet-overdone story. While artistic choices, a decent ensemble, and a few fun visual effects help make this particular reboot work to some degree, this does not save the entire film from plateauing at a mediocre level.

While I can mostly recognize the story points, messages, and themes, I cannot help but respond to the special emphasis placed here on the surreal romance found within Vlad Dracul’s backstory (which is given significant detail) as he searches for the long-lost love of his wife through the eyes and beauty of Mina (Zoë Bleu, Gonzo Girl). Between these moments and the sequences of exposition-dumping that Waltz has as an all-knowing vampire expert, Dracula is heavy on lackluster dialogue. And needless to say, I was not entirely sold by watching CGI gargoyles that accompany Dracula for most of the story.

For a younger generation whose first experience with the classic tale is this film, I feel a bit of anguish, as this rendition, while accurate in terms of plot, leaves much to be desired in intensity, character development, and gothic-horror sequences. True, it will adequately convey most of the ideas found in the original, yet viewers will find that takes such as Nosferatu and Francis Ford Coppola’s 1992 adaption still weave a tale centered more around the intended horror of a beast bent on blood and lust. For this particular critic, the hyper-romantic deviation from the lore, while unique in its own right, does not do the overall story justice.

Adam Vaughn

Adam Vaughn is a graduate of the Film & Moving Image program at Stevenson University, with a focus in Cinematography and Production. He also has a minor in Theater and Media Performance. Adam works as a freelance photographer and videographer, focusing his craft on creating compelling photographic and cinematic imagery. Adam is excited to join the Film Festival Today team and explore the world of cinema and visual arts.