Dracula (2025)

The critic describes the film as a kitschy, surprisingly tame bodice-ripper that emphasizes romance over gore in its century-spanning story. Caleb Landry Jones earns praise for his earnest, committed performance as the lovestruck vampire amid the film's silly and ludicrous elements.

The critic finds Besson’s romantic reimagining ridiculous but watchable overall, with ambition and panache that make it preferable to more solemn recent vampire films. The perfectly cast performances of Caleb Landry Jones as Dracula and Christoph Waltz as the priest are singled out for praise.

Besson’s highly stylized ‘Dracula’ is over the top and CGI-heavy, taking the side of the monster as a lovesick romantic martyr. The critic praises the actors matching the campy operatic tone but notes script distractions and multiple flashbacks.

The critic finds the adaptation visually stunning with gorgeous costumes and set design, and praises a bravura battle scene, but criticizes the stodgy script, emphasis on romance over horror, and weak performances from the leads.

The critic notes Besson's focus on Dracula as a tragic romantic anti-hero in 19th-century Paris, highlighting good ideas like the final army attack alongside weaker ones like the perfume search, and a comic-book ambiance, with Waltz as a priest version of Van Helsing and an original ending.

The review highlights Caleb Landry Jones having fun in this mixed-bag Gothic adaptation by the director of The Fifth Element, with Christoph Waltz also starring in the take on the 1897 horror novel.

Luc Besson’s extravagantly silly twist on the timeless monster is deliciously operatic but ultimately a letdown. The critic singles out the campy scenes of Dracula narrating his signature fragrance like a perfume commercial.

Luc Besson’s take is a wan, derivative potboiler that fails to add much new to the vampire legend. The critic singles out Caleb Landry Jones’ stylish, fey performance as the main point of interest amid otherwise dull romance and schlock.

Besson's adaptation is called frustratingly inert, leaning into tragic romance but failing to enliven the proceedings despite Christoph Waltz's efforts; the only notable addition is a visual departure from genre norms.

The critic views Besson's Dracula as a visually sumptuous Gothic romance that prioritizes aesthetics, music, and central chemistry over horror or narrative logic. She singles out the lead performance for expanding into conventional territory rather than offering something more distinctive.

The critic praises Caleb Landry Jones's sympathetic and charming portrayal of Dracula as the film's highlight, making viewers root for the character despite flaws. They complain about underdeveloped supporting characters, plot holes, and inconsistencies in the story.

The critic views the film as a silly, sincere Gothic romance that embraces dumb fun over elevation, highlighting its ridiculous yet enjoyable take on the monster love story and Jones's performance. They single out the daft, adolescent vibe and lack of coherent thematic depth as both complaint and charm.