DRACULA

Luc Besson's Dracula is a film that aims to bring the vampire myth back to its roots, but it does so with a stylistic imprint that alternates interesting insights with less convincing choices. The atmosphere is carefully constructed: cold lights, sumptuous sets, and an aesthetic that evokes European Gothic without ever abandoning that modern patina typical of the director. Visually, the film works. Where the work loses some of its strength is in the pacing. The narrative proceeds in fits and starts: some sequences are intense, almost hypnotic, while others seem too rushed or, conversely, drawn out without real payoff. Character development also fluctuates — Dracula is fascinating but not always impactful, and the supporting characters sometimes feel more decorative than necessary. Besson's touch is evident, for better and for worse: style and ambition are not lacking, but perhaps a cohesion that could make this new interpretation truly memorable is missing. The result is a film that is enjoyable to watch, with some successful moments, but that will likely not leave a deep mark. In summary: an elegant, visually polished Dracula, but somewhat uneven. An interesting experiment, though not entirely on target.