All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
Love never dies.
When Dracula leaves the captive Jonathan Harker and Transylvania for London in search of Mina Harker -- the spitting image of Dracula's long-dead wife, Elisabeta -- obsessed vampire hunter Dr. Van Helsing sets out to end the madness.
Not just "my kind of movie", but also a film that resonates with every fiber of my cinematic being.
Simultaneously an achingly tender fable of love and a pent-up phantasmagoria of delicious sensuality, Bram Stoker's Dracula, directed by Francis Ford Coppola, weaves the Gothic and the Romantic until intertwined cobwebs begin to appear out of its embrace.
Unlike the more revered Coppola joints, it isn't based solely on character and screenplay but on the sublime audacity of its various technical elements. While most criticisms of Dracula stem from Keanu Reeves' ingeniously out of tune performance and its messy switches of tone, neither really add up to anything of truly negative worth as Coppola's intent was one of visual splendor.…
Bram Stoker's Dracula is a superb Gothic love story. Stoker's novel is a beautifully written epic tale that cleverly uses religion, mythology and folklore to create one of the most iconic monsters ever. Now there have been many films inspired by this novel, but there aren't that many that follow the book very well. I'd wager that Coppola's film is one of the most faithful adaptations ever made. Even though it takes a few liberties, it understands what the story at its heart is about and manages to tell it without diminishing it to a cheap horror story.
This is perhaps the last 'good' film Coppola made. It on more than one occasion showcases his talent for structuring a narrative…
"Civilization and 'syphilization' have advanced together." or "Perhaps, though I try to be good, I am bad."
A truly beautiful sex panic phantasmagoria and an unheralded analog technical spectacle. Paralyzed by fear and awe of desire. The traditional, the rational, the modern: all crumble powerlessly, and time collapses in the face of lust. Fuck or die.
Film #22 of Project 90
"There is much to be learned from beasts."
Francis Ford Coppola’s Dracula is a visually spectacular adaptation of Bram Stoker’s famous and legendary story, Coppola turns this classic and hair-raising story of good vs evil into an absolutely glamorous show of colors, lights and shadows and with his masterful ability of creating unique and exciting atmospheres he makes us feel all the horror, madness and wickedness of the evil Count Dracula. The overall tone of Coppola’s film comes very close to the original story’s and that’s what separates this from so many other messy adaptations. Dracula is a precise and neat cinematic adaptation which shows why many people have fell in love with the story…
Hoop-Tober Challenge (For Beginners) Film #21
I vomited a total of three times throughout the 127-minute runtime of Dracula. Not that it has anything to do with the film though, food poisoning.
Its just for your information. Now, to the film.
Coppola's version of Dracula is certainly an ambitious one, quite an astonishing technical achievement in cinema. Here, Francis Ford Coppola used match cuts, cross dissolves, lighting and multiple exposures to their full potential. The entire film is done without CGI. It is like nothing I've ever seen, indeed an admirable work by an admirable director. (Coppola fired his standard visual effects team and replaced them with his son, Roman Coppola.)
"We've all become God's madmen, all of us."
I once told someone that Keanu Reeves was so bad in Bram Stoker's Dracula that it was "like Ted took a bogus journey to Transylvania."
I love this movie despite him and not just because of the extreme hotness of Gary Oldman and Winona Ryder.
You kinda have a boner watching it, but it's not one you feel good about having.
Time has had a curious effect on Francis Ford Coppola's Dracula. Having seen it only once around the time of the film's original release, I was this time delighted by the production design, impressed by Coppola's stylish direction and wowed by the special effects. This is perhaps one of the last big budget Hollywood horror films that excelled with practical rather than computer generated effects and time has only exemplified this aspect of the film for the better.
Gary Oldman's Count is nothing short of iconic in all of his many monstrous guises. Anthony Hopkins is reassuringly solid as an eccentric Van Helsing, while Tom Waits and Richard E Grant are both well cast in supporting roles.
So it is…
This is an adaptation that sticks true to the original novel, which is a major accomplishment for a Dracula film/a vampire film in general. Gary Oldman kills it (no pun intended) as Dracula, delivering the finest vampiric performance in modern cinematic history. I do wish they had cast anyone but Keanu Reeves as Harker, but what can you do? An otherwise perfect film is tainted by his presence.
Other notable MVPs include Sadie Frost, who was flawlessly Lucy, and Tom Waits, who was perfectly insane.
And - shout out to Monica Bellucci for being the most gorgeous bride of Dracula *ever*.
"Listen to them: the children of the night. What sweet music they make."
Francis Ford Coppola's take on Bram Stoker's classic tale is a visual feast. Keanu Reeves has gotten a lot of shit for his performance as Jonathan Harker and yes, he's not very good and he has a terrible english accent but I have a soft spot for him so I forgive him. Not my favorite Dracula but the new swedish bluray looks great!
So much Winona and Keanu....2 and a half stars!
But what about Gary Oldman, and Anthony Hopkins? And fuck man, Tom Waits is Renfield!
Alright, 5 stars then!
Woa, slow down pal, there's still all that Winona...and Keanu.
Ok? 2 stars?
2? What about all that awesome production design, and the effects? C'mon, that makeup.
Monica fucking Belluci as a bride of Dracula for god's sake.
Alright, 4 stars then!
Eh, go 3 and a half.
What could very well be the pinnacle selection of the style-over-substance motion picture extravaganza in which the lack of substance and overwhelming amount of style becomes its substance. Francis Ford Coppola’s most oddball movie in his filmography, "Bram Stoker’s Dracula", finds itself coming to terms with its chaotic behavior when it finds itself following up an extended sequence of cartoonish violence in which Anthony Hopkins camps up with vampire seductresses with a final moment in which the movie’s beauty kills the beast motif circles back on itself. Coppola drives this allusion in that he makes constant nod to Jean Cocteau’s "Beauty and the Beast" (including a sequence involving diamond tears lifted completely from it), Coppola bites his voyeurs in the throat by showing us the Gothic artistry of a ceiling mural that plays part in driving home his inspired retelling of the classic story.
The first ten minutes of Coppola's 1992 remake of a remake of a remake of Dracula, are pretty B.A. I commented to Ruth right away that this thing LOOKED brilliant and that I was actually excited to revisit this one, as I'd seen it previously - many, MANY years ago, back when I was just a tike. However, my hopes for a blow away movie were quickly dashed as beautiful images turned to mediocre acting from two of the four leads and a tedious story that I've seen way too many times. Like, seriously, if I never see another Dracula adaptation for as long as I live, that will be fine with me. I mean, I really liked Herzog's version…
Cause for celebration as analogue mastery alone, Coppola's relentlessly illusory, vicious, sexualized treatment of the Dracula loire is a film with energy unmatched by any I can remember for a vampire fable. From Gary Oldman's over-the-top dedication, to Keanu's knowingly shit performance; the unbelievable score, blending seamlessly with Michael Ballhaus' masterfully lit cinematography. This is a tale about love lost, alongside a theme of vengeance against a God that failed a man who believed himself to be carrying out an Almighty task. Bleeding with passion, both on screen and behind the lens. Above all else, this is a time capsule of a cinematic virtuoso beyond his prime, throwing every last trick up his sleeve at his audience. The blood is the life.
Every film that has ever been nominated for an Academy Award in any category. Enjoy!
a list that is trying to contain every horror film made that is not lost and is found on the…