SummaryIn 19th century England, Dracula returns to London to seek revenge on those who engineered his defeat and trapped him in an immortal hell the first time he attempted to leave his homeland of Transylvania and spread his influence throughout Europe.
SummaryIn 19th century England, Dracula returns to London to seek revenge on those who engineered his defeat and trapped him in an immortal hell the first time he attempted to leave his homeland of Transylvania and spread his influence throughout Europe.
The gorgeous art direction make this great fun, and Rhys Meyers plays his part with such blood-slurping, mouth-wiping gusto that even a dentist could love him. [25 Oct/1 Nov 2013, p.94]
This supernatural thriller is much more attuned to the times than PBS’ costume period piece “Downton Abbey,” which filters such hot topics as women’s rights and homosexuality through a modern lens.... Mina’s aspirations to become a surgeon are publicly disparaged by the person closest to her next week in a moment that hits harder than the onscreen horror. Dracula’s visit to an underground gay club next week is well, bizarre, but it captures how homosexuals dwelled in the shadows, terrified of exposure. Those moments are far more biting than any of the so-called scares.
Turning Dracula into a fanged insurgent battling ruthless oligarchs is a nifty idea, and the electricity plot allows for diverting steampunk-meets-“Bride of Frankenstein” visuals. But nothing about the show is as much fun as it should be. The storytelling is slow and anemic, spelling everything out at length.
Strip away the name and this is the story of a man trying to tear apart an oil monopoly, which makes Dracula every bit as scary and sexy as the Sherman Antitrust Act.