Dracula

Besson’s film is a magnificent achievement. More romance than terror and more faith than devilry, this film is sure to pull the heartstrings.

On the heels of several other Dracula-based films in very recent memory, Luc Besson’s take on the story doesn't do enough to set itself apart, despite its fair share of weird comedic moments.

The bloodsucking Count is back again, but this time in a strangely bloodless love story that even wickedly seductive fangboy Caleb Landry Jones can’t save from the cliché stockpile.

If the legend of Dracula has become tired through overuse, there is certainly nothing in this iteration to grant the old Count a new lease on life.

Just a pale imitation of scarier bloodsuckers gone by.

Not even a typically scenery-chewing Christoph Waltz can enliven the proceedings.

It’s a train wreck, but certainly a watchable one that almost plays like fan fiction.

A fun to watch! It does not take itself too seriously and the actors seem to realky enjoy what they doing. Especialky Waltz seems to enjoythis role much more that his role in Frankenstein. In the end it is a Luc Besson movie that has it all for popcorn movie par excellence!

Por mais que pegue carona tecnica e visualmente em "Nosferatu" (sendo que este é artisticament superior), curto a objetividade da história, com certo didatismo e indo direto ao ponto. É um romance água com açúcar, mas ao menos é bem explorada a motivação, e bem construído os personagens. Peca na hora da adrenalina e na ação, e pra piorar o desfecho ficou preguiçoso demais, quase põe tudo a perder. Mas ainda assim o saldo é positivo, por mais que não acrescente absolutamente nada à história do Conde (para mim, de Coppola continua imbatível).

Luc Besson certainly gives Dracula: A Love Tale visual ambition and extravagance, but for me the romance overwhelms the monster. The obvious comparison with Coppola's 1992 film is difficult to escape, especially because that version balanced passion, sensuality, mystery and genuine menace far more effectively. Caleb Landry Jones also did not convince me as Dracula: I found his performance too mannered and not threatening enough, while Christoph Waltz brings far more presence and wit. Besson's shifts between Gothic solemnity, humour and grotesque fantasy occasionally produce entertaining moments, but they also create a strangely uneven tone. Most importantly, I was rarely scared. After the genuinely disturbing atmosphere of Robert Eggers' Nosferatu, this felt too explanatory, too romantic and not mysterious enough. Visually ambitious, sometimes provocative, but ultimately disappointing.

This is probably the most historically ignorant version of Dracula yet. Wallachians didn't look and behave like medieval French. While they were Christians, they didn't have Catholic priests in Orthodox churches. And the absolutely ridiculous armors... The only good parts of this... whatever the eff this is, are Christoph Waltz and the parts it stole from Bram Stoker's Dracula. This thing should be forgotten and consigned to oblivion. The 2025 Nosferatu film is vastly superior in every possible way.

Dramatically, nothing here works. First dramatic, then erotic, then creepy, and then slapstick. The completely inappropriate slapstick, in particular, ruins the film entirely. And the man behind the mask fails miserably as an actor right from his first scene as Dracula—it's appalling. Not to mention the details that are an insult to the audience, with CGI on par with the 90s. But despite the criticism, you can watch the film for 50 minutes until they start dancing; at that point, you should turn it off and put on Nosferatu instead.