and now i have to seed it for two days
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The Scarlett Johansson Singularity: A Deep Dive into the “Lucy” and “Her” Connection
I still remember the first time I watched Spike Jonze’s Her. It was late at night, the kind of quiet, introspection-inducing hour that makes a film about loneliness and artificial intimacy hit a little too hard. I was captivated by the voice of Samantha—warm, raspy, incredibly human, and yet distinctly not. It was Scarlett Johansson, of course, delivering a performance that felt oddly familiar,…
The Scarlett Johansson Singularity: A Deep Dive into the “Lucy” and “Her” Connection
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“Dracula” (2025)
-Wildly appropriate this was released in February. This is the film I love the most of the 2020’s so far
-it covers so much of what I adore; gothic horror, romanticism, doomed love, the crusades, monsters, incredibly beautiful women, grizzled character actors, scenes of pure joy of cinema, blasphemy, French mischievousness, action, ornate costumes..the list never ends
-this point must be made above all else ; it somehow creates an alternative 1930s horror universe that was all but considered lost
+the director of “Dracula” (1931), Tod Browning, wanted his man crush actor Lon Chaney to play the title character. The latter’s death was the only thing that stopped it (but opened the door for Bela Lugosi, so it’s cool)
Go look at a picture of Chaney from “London After Midnight”. Note the hair and top hat. That is exactly what actor Caleb Landry Jones looks like. Astounding. Dreams live again.
-the score by Danny Elfman is delightful. Most notably during the dancing in the parison courts after trying drac’s magnetic perfume
-Christoph Waltz seems to be another film in almost all his scenes. Another universe even. It doesn’t matter. He is magnetic as ever, his screen presence wonderful.
-a much appreciated bonus is that the female characters (both the vixen she vampire and ethereal love muse) are much more robustly fleshed out than normal, and are extremely well acted (by Matilda De Angelis & Zoe Bleu, respectively)
+they are not a garish but a key main dish.
-I love the gargoyles. I have no idea why director Luc Besson put them on screen that way, but the gremlin energy won me over
-it’s kinda funny watching a French film (in English) so much about love and waiting ages for the one, when much of the classic French films are all about affairs, passions on the side, and trying desperately to escape the banal obligations of extinguished emotions
-indeed, there’s even a pointed moment where Dracula notes that such a culture of flesh and no emotion (to him) made all hope of true love vanish for centuries.
+so, take that!, ye old frogs
-I absolutely cherish the scenes where the nuns lose their minds and sexual restraint at the mist of Dracula; their piles of bodies ready to ache again
-this is the film I smiled the hardest at since “Alien Covenant”
-I love when vintage wines could be given such new flavor through sheer personality
-I guess some people don’t get how creativity works; it is not where you take it from, but where you take it to
-there are superficial details linking this and a certain film by Francis Ford Coppola. Mostly due to the source material novel. But the spices both add could not be more different, more alive in contrast
-I love the costumes and blood of the crusade scenes; I could have watched a whole other chapter about it. It is a meaty section in this film but I would have be pleased to have more more more
-about the only thing I can say is out of place is that the priest’s arguments for Dracula to give up his love are a little unconvincing. But perhaps I was so thoroughly on his side that nothing could make me root against him
-Caleb Laundry Jones will be as forever and as famous in this role as Bela Lugosi, in his own way. It is simply impossible for him to have hit a bullseye with stronger force then he does on this picture
-anyone else think the army at the end reminds you of toy soldiers?
-I expected nothing from this film, I received everything.
I learned a little more about what brings me unbridled joy. It has been revealed love never stops showing new colors.
I note perfection is less ideal than pure deep emotions.
I have seen an utterly delightful motion picture.
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Dracula (2025)
(2025) Caleb Landry Jones, Zoe Bleu, Christoph Waltz. dir Luc Besson (France)
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Le Cinquième Élément : Retour triomphal sur grand écran en 2026
Près de trois décennies après sa sortie initiale, ‘Le Cinquième Élément’, le film de science-fiction culte réalisé par Luc Besson, s’apprête à faire son retour sur les écrans. En 2026, les fans auront l’opportunité de redécouvrir cette œuvre emblématique dans le cadre de la série ‘Big Screen Classics’ de Fathom Entertainment, marquant ainsi une nouvelle étape dans la célébration de son héritage…
Le Cinquième Élément : Retour triomphal sur grand écran en 2026
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Luc Besson’un Yeni Dracula Filmi Gişede Rekor Kırdı
Luc Besson’un Yeni Dracula Filmi Gişede Rekor Kırdı
teknohaberi.net
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Luc Besson’s Dracula – A Love Tale
Heads up, small spoilers this time.
A whole lot of noise… but where was the love tale?
I got the movie as a gift yesterday, so obviously we put it on right away. And I’m just gonna say it. I walked away annoyed, not impressed.
Which sucks, because I actually like Luc Besson. Not everything he’s ever done, sure, but Léon and Nikita are still genuinely iconic to me. And The Fifth Element is gloriously unhinged in the best way. So when a Besson film falls flat, it hits extra hard.
Also, I’ve seen basically every Dracula adaptation under the sun. Even the ancient black-and-white ones that survive purely on vibes and dramatic eye bags. So I’m not one of those people who complains the second a story isn’t “classic.” I’m open to new takes.
That’s why the trailer and especially the title Dracula – A Love Tale kind of set me up for something totally different. I went in expecting a version that really commits. Maybe the story told properly from Mina’s perspective. Or that whole reincarnation-through-centuries thing, tragic and obsessive and messy. Honestly, it could’ve even been a little cheesy if it had a clear emotional center.
But… nope.
In the end, it’s basically just Dracula again. Not the worst thing ever, but nothing that made me go “oh, okay, that’s new.” There are a few nice visual moments here and there, because yeah, Besson can frame a scene. I’ll give him that. But pretty shots don’t equal a story. And they definitely don’t equal a love tale.
And then there’s the perfume thing. Seriously, what was that? It didn’t feel clever to me, it felt like someone grabbed a chunk of Perfume and slapped it in there because they needed an “idea.” If it was meant as a tribute, it didn’t land like one. It landed like the script didn’t know what it wanted to be halfway through.
Christoph Waltz is another frustration. I like him a lot. He’s the kind of actor who can carry scenes on pure presence, when the material supports him. But here he kinda disappears into the mess, because the story is so wobbly that even strong performances can’t really save it. That’s not a Waltz problem. That’s a writing problem.
I’ll keep it short because this movie just got on my nerves. If you’re hoping for a bold, fresh reinterpretation, you can skip it. It’s basically just another Dracula adaptation you’ll forget a couple days later. And that’s the real bummer. The potential was there. They just didn’t do anything with it.
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While we’re enjoying Caleb Landry’s performance in Dracula: A Love Tale (2025), let’s not forget that the director Luc Besson is a piece of shit pedophile. My way of separating the art from the artist is appreciating the costume designs, the sets, the acting, and at the same time critically examining the scripts, narrative and aesthetic directions (responsible by Besson). How a classic piece of literature is interpreted in modern time matters y’all. Please do not let aesthetics be the finality of your understanding of art or else we will never have change and pedophiles can continue living comfortably under the guise of artistic expression.
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i feel like luc besson’s dracula answers the question, “what if mirror mirror (2012) had a goth phase?”
the visuals were beautiful, the yearning was high, and there was a kitschy whimsy that i didn’t expect, but enjoyed!
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Saw Dracula 2026 and it felt icky in a “If I Did It” way. Luc Besson is not beating the allegations.
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Movie Review: Dracula
Who would have thought that the 1897 novel Dracula from Bram Stoker (1847-1912) would still be getting new adaptations today. The story of the vampire Count Dracula has been portrayed hundreds of times in media to the point where Guiness Book of World Records named Dracula the most portrayed literary character of all time. There are way too many iterations of Dracula to namecheck here, but my favorite live action Dracula movies are the original 1922 silent film Nosferatu, 1931’s Universal monster movie Dracula, and Abbott and Costello Meet Frankenstein (the later two were both played by Bela Legosi). Now French director Luc Besson is taking a crack at the Dracula story with Dracula, which opened internationally last year and is opening in the U.S. this weekend. I remember in the early 90s, a ton of cinephiles I knew wanted to become “the Next Luc Besson” (please note this was pre-Pulp Fiction when everyone wanted to be “the Next Quentin Tarantino”). As much as I liked Besson’s La Femme Nikita and The Professional I never got into his work. He always struck me as style-over-substance. But I was intrigued by the idea of him adapting Dracula.
movie poster
Here is the logline: When a 15th-century prince (Caleb Landry Jones) witnesses the brutal murder of his wife (Zoë 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.
Overall, I felt like Besson didn’t bring much to the table in re-doing this story we’ve seen so many times already. It also had the misfortune of coming out slightly over a year since Robert Eggers Nosferatu remake. I can’t say I was that big of a fan of that adaptation (although it had its moments), but it was better than this one and Besson’s coming so soon after felt like band going onstage and doing the exact same song the previous band onstage just did!?! The production design, costumes and makeup were all good, but it just felt like a ton of been-there-done-that. Remakes and reboots are nothing new in Hollywood, but I think it comes down to what you’re adapting and what you’re bringing to it, i.e. 2020’s The Invisible Man which was a fantastic modern adaptation of the 1897 novel. The one thing this Dracula had going for it was Waltz who truly elevated the film when he was on-screen. But you just wanted it to be better as a whole! Now, if you’ll excuse me, I’m going to re-watch 1987’s The Monster Squad, where tweens defeat Dracula and other monsters!
For info on Dracula
2 out of 5 stars
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Everyone conveniently forgetting Luc Besson is a pedophile because Caleb Landry Jones is in his Coppola rip off Dracula movie