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YMMV: Bram Stoker's Dracula
  • Adaptation Displacement: To this day there are negative reviews in pages like Amazon criticizing the book for not having any of the romance this movie had.
  • Anvilicious: Lucy's a slut, we get it! Two parodies had fun with this, starting with the Parody Names they gave her — MAD went with "Loosely", and Cracked went with "Slutty".
  • Awesome Music: Wojchech Kilar's score is excellent.
  • Big Lipped Alligator Moment:
    • In the scene in which Dracula is approaching London, with a storm marking his arrival, Lucy and Mina run around outside and even kiss.. and then forget about it happening right away.
    • Van Helsing laughing like a lunatic while humping Quincey Morris's leg.
    • Van Helsing's random demonstration of Offscreen Teleportation, which he shows to Dr. Steward and co. to convince them that supernatural things exist. He's talking about hypnotism at the time, but no hypnotist is capable of such a feat. Basically, the man is a wizard, but everybody forgets it for the rest of the film.
  • Crowning Music of Awesome: The whole soundtrack.
  • Designated Heroine: Mina.
  • Ensemble Darkhorse:
    • Any scene involving Tom Waits as Renfield or Anthony Hopkins as Van Helsing is bound to be more entertaining than the rest of the movie for viewers who don't buy it.
    • Likewise, the brides are pretty well liked.
  • Elite Mooks: The Gypsies, as claimed by Jonathan Harker.
    Jonathan Harker: The Count's gypsies, fearless warriors who are loyal to the death to whatever nobleman they serve...
  • Evil Is Sexy: For the ladies, you've got Dracula. For the guys, you've got the vampire brides.
  • Fashion-Victim Villain: Dracula at the beginning of the movie. While the red robe is fine, the hairdo just looks silly.
  • Narm: A veritable buffet of it. Whether it's Keanu Reeves' terrible attempt at a British accent, the combined Large Ham of Oldman, Hopkins, Elwes, Frost, and Waits, or Dracula crying tears of...watercolor paint, this movie is a glorious helping of goofiness.
  • Nightmare Fuel: That horrible noise near the end of the trailer. Listening to it for a full minute is enough to drive you insane with fear...
  • One-Scene Wonder: Dracula's man-bat form.
  • Romantic Plot Tumor: One of the biggest. How much you like the film depends in part on how you feel about the romance (and how annoyingly sexy you find Gary Oldman).
    • Extra squicky because the original attacks from the vampire were clearly meant to invoke rape.
  • Special Effect Failure: When playing the ancient version of Dracula Gary Oldman is wearing very obvious extensions on the tips of his fingers that look more like nipples than fingers. It's not quite the paper tubes Max Shreck wore in Nosferatu but it's the same idea.
  • Squick: Dracula licking the blood off Harker's razor, as it would have been mixed with the shaving soap.
  • Retroactive Recognition:
  • Strangled by the Red String: Dracula and Mina.
  • Visual Effects of Awesome: The special effects are all very impressive, and although CGI had begun to come into its own by 1992, this movie's effects are all real. It's all the more impressive for it!
    • Taken Up to Eleven by the fact that the effects were all done with technology that existed at the dawn of film. Not only is there no CG, there isn't even optical compositing (the primary method of combining multiple elements into one scene before digital compositing was possible). Practical effects and camera trickery were all they used and it looks awesome.
  • WTH, Casting Agency?: Winona Ryder and Keanu Reeves as turn-of-the-century Londoners? In Ryder's case, she was the one who brought the script to Coppola's attention to begin with, so it was probably hard not to hire her (and at least her delicate doe-eyed look works). Reeves...there's no excuse for. Coppola originally wanted Johnny Depp, but the studio wouldn't allow him.
    • No less an acting talent than Charlie Sheen said in an interview: "How does Francis Ford Coppola, one of the greatest filmmakers of our time, see Keanu Reeves's work, see what we've all seen, and say, 'That's what I want in my movie'?"

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