Dracula is one of the most adapted stories out there. Every few years, we’re getting another interpretation of the story, and this time it’s Luc Besson’s turn. And if it feels like this movie has had an extremely long release timeline, then you’re not wrong, as the film was released in Europe last summer. We’re now finally getting into US theaters and, while critics aren’t loving it (check out my review here), it has managed to make some money at the box office. Despite being one of many versions of the story, Besson’s version is definitely one of the more unique ones out there (even if it’s more a retelling of Francis Ford Coppola’s version than anything).

I was able to speak with writer/director Luc Besson and stars Christoph Waltz, Caleb Landry Jones and Zoe Bleu about the film. Besson gets into why getting Danny Elfman to do the score was one of the biggest wins for him. Landry Jones and Bleu discuss what they were able to do to help develop their chemistry despite not having many scenes together in the film. Then Waltz gets into whether or not he prefers to do period films or those set in modern day. Given his filmography, his answer may surprise you. Check it out in the video above!

Dracula plot:

When a 15th-century prince (Caleb Landry Jones) witnesses the brutal murder of his wife (Zoe Bleu), he renounces God and damns heaven itself. Cursed with eternal life, he is reborn as Dracula, an immortal warlord who defies fate in a blood-soaked crusade to wrench his lost love back from death, no matter the cost. On the verge of reuniting, Dracula is hunted by a relentless priest (Christoph Waltz), sworn to end his immortal reign.

Luc Besson’s Dracula Is Now Playing In Theaters.

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This weekend marks the release of the umpteenth adaptation of Bram Stoker’s Dracula, this time directed by Luc Besson. Already released in Europe under the title Dracula: A Love Tale, the film took a while to reach the United States, largely because Besson is no longer the commercial force he once was—back when his EuropaCorp banner reliably churned out mid-budget action movies that actually made money.

Still, Dracula is performing better than expected at the box office, despite lacking a traditional movie star (Caleb Landry Jones remains largely unknown to mainstream audiences). In fact, it’s on track to post Vertical Entertainment’s biggest opening ever. While it won’t be a blockbuster, its theatrical run is positioning it nicely for a strong streaming debut. And with Nosferatu having been a surprise hit last year, it’s clear there’s still plenty of life left in the old count.

Which Dracula Adaptation Is the Definitive One?

With that in mind, we want to know: which version of Bram Stoker’s immortal tale resonates most with our readers?

Before you vote, a few caveats:

• This is not a list of every Dracula movie ever made—only films that directly adapt Stoker’s novel.
• That means titles like Dracula Untold aren’t included.
• Nosferatu is included, as the silent classic was an unauthorized—but remarkably faithful—adaptation of the novel’s core premise (a claim that also applies to Robert Eggers’ recent remake).

The Most Iconic Dracula Performances

Over the decades, there have been countless portrayals of the Count, but three performances still loom largest:

• Bela Lugosi in 1931’s Dracula, the Universal Monsters version which defined the character for generations
• Christopher Lee, whose Hammer Films run turned Dracula into a ferocious gothic icon
• Gary Oldman in Francis Ford Coppola’s lavish, romantic adaptation—an interpretation that clearly influenced Besson’s new film

Each version reflects its era, and each has its defenders.

Vote Now: What’s the Best Dracula Movie?

So, which Dracula adaptation stands above the rest?
Take the poll below and let us know which version you think still rules the night.

The post Poll: What’s The Best Adaptation of Bram Stoker’s Dracula? appeared first on JoBlo.

PLOT: When a 15th-century prince denounces God after the loss of his wife he inherits an eternal curse: he becomes Dracula. Condemned to wander the centuries, he defies fate and death, guided by a single hope – to be reunited with his lost love.

REVIEW: I’m not sure if there’s any story that’s been adapted to film as much Dracula. Whether it’s Bram Stoker’s novel or more of a focus on Vlad the Impaler himself, it’s popularity has spread over a century. This time, it’s Luc Besson‘s turn and he takes a decidedly more romantic approach, blending Stoker’s book with his unique style. And it’s really a showcase for Caleb Landry Jones as the titular character. Just prepare yourself for plenty of absurdity and even…interpretative dancing?

While I’m sure everyone knows the story of Dracula at this point, Besson’s version only really uses the bones of it. There’s a bit of Vlad the Impaler’s war exploits mixed with the story of Jonathan Harker. But he’s mostly just used as a tool for Dracula to tell his story and the focus is mostly on Vlad’s love for Mina and how losing her caused him to renounce God and walk the earth for centuries trying to find her again. While there’s certainly a monstrous side to Dracula, this is very much a love story, where all of his motivations are centered around getting the love of his life back in some way.

Caleb Landry Jones has always been a great actor, but this allows him to show his commitment in the face of a pretty absurd role. The way he obsesses over his love Mina, never breaking eye contact as his soldiers put on his armor, or the way he bounces about in his full monster form, Jones appears to be having a blast. This manages to give his scenes a lot of energy that is sometimes lacking when he’s not around. Zoë Bleu plays his love Mina and her new incarnation, Elisabeta, but it’s a role that doesn’t really leave much impact. The “Damsel in Distress” archetype doesn’t really work in this day and age, and the character really needed some agency of her own.

Christoph Waltz essentially plays Van Helsing, though in this version he’s simply known as “Priest.” He’s clearly religious but takes a more scientific approach to the vampire plague. It’s an interesting contrast to what we’re used to seeing, though the logical and divine sides are sometimes at odds with each other. Waltz almost feels like an afterthought in the overall narrative, but he makes the most of his limited scenes.

Dracula has an almost playful tone, with similar beats that we’ve seen so many times but Jones is having so much fun, that it translates to the viewer. It’s just unfortunate that they took so many very strange detours along the way. The narrative is told out of order, and you have to play catchup, which feels weird since the beats are well known. Moments are very heightened and, despite trying to ground certain elements, the presentation is very fantastical and almost theatrical in it’s over the top nature. The production design is fantastic, with some gothic sets that feel very lived in. And the score from Danny Elfman is fairly memorable.

There are some alterations, like instead of hounds protecting Dracula, they’re instead gargoyles. But they serve much of the same purpose in the story, keeping watch over the Count and guarding Jonathan Harker. I didn’t mind them until they started doing head-scissors takedowns and fighting like Judoku experts. It just kind of adds to the humor of the story and not taking itself overly serious. But this corniness can sometimes damper the experience and put this in a schlockier category than it likely intends to be. And the ending really makes so much of the journey feel futile.

In many ways, Luc Besson’s Dracula feels like it owes a lot to Francis Ford Coppola’s film, as the visual language and plot beats are very similar. This is more of another adaptation of that film, than one of Stoker’s original novel. Even Jones’ attire more closely resembles that of Gary Oldman’s, with his monster form looking damn near identical. There’s a lot more corniness present here, with random moments of dance, and strange plot contrivances. I enjoyed the silliness overall, but it won’t be for everybody. This is really just a showcase for Jones, and the rest comes second.

Dracula releases to theaters on February 6th, 2026.

Dracula (2026)

AVERAGE

6

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