Call him what you like – Vlad the Impaler or Dracula; either way, it might be difficult to believe that parts of his tale remain untold. That’s what the latest film to tackle the subject of countless stories and cinema outings claims, delving into the basis for the character. When Bram Stoker’s classic novel related an account of a Transylvanian count with a thirst for blood, it was considered to have taken inspiration from a real-life ruler from medieval times. It is this narrative Dracula Untold explores, albeit with equal regard for purported fact and obvious fiction. Here, a prince fights to protect his people – and a father endeavours to save his son – by surrendering his soul to evil forces.
Vlad’s troubles started as a child, his formative years spent training to become a warrior in the service of a Turkish sultan. As an adult (Luke Evans, The Hobbit: The Desolation of Smaug), he has his freedom and rules over his kingdom, but the accord with the current leader, Mehmed (Dominic Cooper, Need for Speed), is far from stable. News arrives of a demand to keep the peace: the provision of 1,000 boys for the Turkish army, with refusal sparking certain warfare. When attempts to persuade Mehmed otherwise bring Vlad’s son (Art Parkinson, TV’s Game of Thrones) into the bargain, he seeks an alternative for the sake of his populace and his distressed wife (Sarah Gadon, Enemy). Submitting to a cave-bound vampire (Charles Dance, Patrick), Vlad gains the strength needed to face his enemy – but his passage through the powers of darkness has consequences.
As directed by Gary Shore (The Draft) and written by Matt Sazama and Burk Sharpless (the forthcoming Gods of Egypt), Dracula Untold doesn’t attempt to hide its nature, presenting an origin story plain and simple. The outcome is obviously a foregone conclusion, already given away by the source material and the many movies it spawned since the advent of the medium. Instead, as the film works towards the inevitable, it endeavours to evoke interest in its family ties and frequent battles. The former is overwrought and dull, hitting all the expected beats and relying too heavily on emotional manipulation. The latter, in the manner of every historical-leaning fantasy-action outing of late, is chaotically frenetic yet blandly repetitive.
Indeed, little remains previously unseen in an offering that takes its cues from the swords-and-sandals genre as much as its own evolution – apart from shirking horror to brand the man who would become Dracula as a hero, of course. Thankfully, the feature openly embraces its status as a generic effort, never trying to offer anything more than a routine excursion into good-versus-evil territory. What aids the feature instead is its genuine sense of style, seen less in its drab and gloomy aesthetic and more in its rendering of special effects. Vlad’s vampire-enhanced night vision and the disintegration of the undead offer striking flourishes throughout, while three late-stage scenes – a fray amongst silver, a tragic turn, and the welcoming of sunlight – help the film work towards an impressive culmination.
Though hardly saddled with difficult roles, Evans and his cohorts play their parts with the right tenor of seriousness befitting the feature’s many solemn speeches, but without too much aggrandising to render their portrayals laughable. That’s a delicate balance, and one that can’t be underestimated in a movie with no need for character development and nothing to ask of its cast but adherence to archetypes. Giving Dance and Gadon more to do would have been welcome; however perhaps they’ll get another chance. When the sequel set-up that forms the film’s final scene – and its best component – arrives, Dracula Untold leaves no ill will for a second effort, as long as the acceptance of its limits and the embrace of visual panache remains, that is.
Rating: 2 ½ out of 5 stars
Dracula Untold
Director: Gary Shore
USA, 2014, 92 mins
Release date: 2 October
Distributor: Universal
Rated: M
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