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Dracula: Dead and Loving It

Dracula: Dead and Loving It

Comedy · Horror · Fantasy · 1995

When a lawyer shows up at the vampire's doorstep, he falls prey to his charms and joins him in his search for fresh blood. Enter Professor Van Helsing, who may be the only one able to vanquish the Count.

Movie details

Dracula: Dead and Loving It

“You'll laugh until you die...then you'll rise from the dead and laugh again!”

1995 Comedy · Horror · Fantasy 1h 28m

Critical arithmetic

The consensus, allegedly.

IMDb

5.9 / 10

48.2K votes

Rotten Tomatoes

11 %

Tomatometer

TMDB

6.1 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

When a lawyer shows up at the vampire's doorstep, he falls prey to his charms and joins him in his search for fresh blood. Enter Professor Van Helsing, who may be the only one able to vanquish the Count.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Dracula: Dead and Loving It?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Mel Brooks

Written by

Rudy De Luca · Steve Haberman · Mel Brooks

Leslie Nielsen

Leslie Nielsen

Count Dracula

Mel Brooks

Mel Brooks

Prof. Abraham Van Helsing

Amy Yasbeck

Amy Yasbeck

Mina Seward

Peter MacNicol

Peter MacNicol

Thomas Renfield

Lysette Anthony

Lysette Anthony

Lucy Westenra

Harvey Korman

Harvey Korman

Dr. Jack Seward

Steven Weber

Steven Weber

Jonathan Harker

Court is in session

Put Dracula: Dead and Loving It on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Prestige Tourist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.