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.
Alternate Character Interpretation: Lucy isn't slutty, she's just flirtatious. Before she's attacked by Dracula she doesn't seem to have slept with any of her suitors, it's only after his attack does she begin to act overtly sexual towards them. This is supported by how Mina after being bitten by Dracula and is starting to turn, tries to seduce Van Helsing.
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".
While many people agree it's a good film, Mina and Dracula being Love Interests is not a good idea if you DON'T want backlash from fans of the book...or anyone who does not like the idea of vampire romance. However, many people in fact favor this couple over Mina/Jonathan. Which is not helped by the people who just hate the idea of Dracula, the definition of the blood sucking vampires, being portrayed sympathetically especially since he still kills people. Others, however, like this idea and thinks Dracula should have sympathetic qualities. Even those who like the idea often dispute whether or not it was actually well-handled.
On the same subject, Winona Ryder's performance is still hotly debated to this day. There are some who feel she was horribly miscast, and compare her unfavourably to Keanu Reeves. Others feel she did a good job. A third camp suggests that the problem comes from Mina becoming hard to sympathise with at certain points. There's also the matter of her accent; some feel it's terrible, while others find it decent enough.
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. On the other hand......
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.
Mina, unlike her book counterpart, makes a number of bad decisions that hurt those around her all for a man she's just met and is cheating on Jonathan to be with.
Van Helsing, also unlike his book counterpart, is also kind of a dick, more excited with being proved correct about the supernatural than the suffering and misery of his friends.
Designated Villain: The vampire hunters receive this treatment towards the end, if Van Helsing's comment about them becoming "God's madmen" is any indication. It may mean that their quest had lead to Quincey's death, but it also may comes across as a Heel Realization as if they became fanatics trying to stay between true love... Except the monster they were trying to destroy wasn't necessarily innocent himself and they wanted to spare an innocent woman from suffering the same fate as her best friend suffered, whom the three men were in love to.
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.
Old!Dracula's butt hairdo, ruthlessly parodied by Mel Brooks in Dracula: Dead and Loving It and by The Simpsons in "Treehouse of Horror IV", is the flagship of the narm in this movie. Summed to his fabulous red robe and rubber-like white face, it turns the character's introduction scene into a potential source of hysterical laughter regardless of the viewer's intention.
Narm Charm: The narm being said, the film is still quite stunning to look at and is most definitely entertaining for some in spite of (or perhaps because of) the goofiness.
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. A fan-edited version cuts out the love story, which shortens the film by an entire hour.
The Scrappy: Mina comes across as pretty unsympathetic, especially because Jonathan is such a loving and devoted husband while she openly longs to be with Dracula. It's not helped by the movie never making it clear whether Mina is doing this of her own free will, Dracula is seducing her somehow or Elisabeta's spirit is overpowering her.
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.
It was also pretty obvious that his shadow was moving out of sync long before it started moving independently.
They Changed It, Now It Sucks: While adding a love story is divisive (see above), many were annoyed with the changes to Lucy's character. In the book, she's The Ingenue. The film turns her into a shameless flirt, who makes all sorts of innuendos in public at her three suitors. Some also didn't like the unfortunate Madonna–Whore Complex being enforced by making Mina the wholesome pure girl and Lucy the evil slutty girl.
This troper didn't feel there was a Madonna–Whore Complex in the film; in fact it seemed that the film was trying to show Mina as miserably sexually repressed, compared to the joyful Lucy, who is not shown so much as a "whore" as a flirt. Also Lucy's attack by Dracula is played up as a terrible horror, not in a "she was asking for it" way. And the only reason Dracula seems to have targeted her is he saw her in his "visions" of Mina and needed a victim who wasn't the reincarnation of his beloved wife to strengthen himself.
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. 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.