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Dracula (2026)


Dracula (2026) is written and directed by Luc Besson, and it feels like a filmmaker trying to modernize a classic myth while chasing a younger audience. The film is hyperactive in its editing, filled with quick cuts that rarely let a scene breathe. It is hard not to compare that to the more confident pacing of The Fifth Element, which trusted its style and performances to carry attention without frantic cutting. Here, the editing feels almost desperate at times.

Caleb Landry Jones takes on the title role and uses a very odd accent that feels like a deliberate directorial choice. He also leans heavily into overacting, pushing expressions and line delivery to theatrical extremes. In Three Billboards Outside Ebbing, Missouri, he was more subdued and forgettable in a supporting role. Here he is front and center, and the performance is certainly memorable, just not always in a good way.

Christoph Waltz plays the priest positioned as the protagonist. As expected, he brings his trademark cadence and sly charm to the role. His dismissive yet disarming way of speaking gives the film some needed gravitas and moments of controlled tension. Whenever he is on screen, the movie briefly stabilizes.

The film also suffers from noticeable logical inconsistencies. One glaring example is the unexplained abundance of bear traps scattered outside the forest. Details like that pull you out of the narrative and make the world feel less cohesive. Instead of deepening the gothic atmosphere, these elements create confusion. Overall, Dracula is stylish in flashes but uneven in execution. Between overacting, frantic editing, and questionable world building, it lands as more frustrating than entertaining. Result: C+

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