Gary Oldman, Winona Ryder and Anthony Hopkins star in director Francis Ford Coppola's visually stunning, passionately seductive version of the classic Dracula legend. In BRAM STOKER'S DRACULA, Coppola returns to the original source of the Dracula myth, and from that gothic romance, he creates a modern masterpiece. Gary Oldman's metamorphosis as Dracula who grows from old to young, from man to beast is nothing short of amazing. Winona Ryder brings equal intensity to the role of a young beauty who becomes the object of Dracula's devastating desire. Anthony Hopkins co-stars as the famed doctor who dares to believe in Dracula, and then dares to confront him. Opulent, dazzling and utterly irresistible, this is Dracula as you've never seen him. And once you've seen BRAM STOKER'S DRACULA, you'll never forget it.
Francis Ford Coppola's 1992 Bram Stoker's Dracula is a feverishly inventive movie that often overwhelms its own narrative flow, yet proves irresistible to watch. In the high-definition transfer on this two-disc Collector's Edition, Coppola's baroque, operatic set design, costumes, and cinematography look as lavish as they did on the film's first release. The director's grab-bag of visual effects are still bold and unabashed, if often over-the-top, and the actors still appear caught up in a certain hysterical pitch that feels a little forced but can be a lot of fun to watch. Gary Oldman's imaginative performance as the titular vampire carries the weight of Coppola's vision of Count Dracula as a tragic-romantic hero with Christ-like overtones. Keanu Reeves still looks a little lost in the pivotal role of Jonathan Harker, the London clerk who finds himself a prisoner in a Transylvanian castle while a 400-year-old vampire makes a play for his fiancée back home (Winona Ryder). Anthony Hopkins is fearless as a daft Von Helsing, and Sadie Frost is very good as the doomed Lucy.
The second disc in this set includes several good documentaries, including a featurette on the making of the film, involving past and present interviews with the principal artists involved. (Coppola and screenwriter James V. Hart speak persuasively about their commitment to bringing Stokers vision to the screen, rather than another revision.) Another documentary, "In-Camera: The Naïve Visual Effects of 'Dracula,'" is a fascinating overview of Coppolas sometimes-frustrated effort to get the timeless special effects he was seeking. There are also quite a few deleted scenes among the special features, the best of which is an alternative cut to the films bloody ending. --Tom Keogh