This week, we dive headfirst into the visual and stylistic feast that is Francis Ford Coppola’s "Bram Stoker's Dracula" (1992).

The ambition is undeniable—Coppola wanted to make a definitive, hyper-gothic, technically ingenious vision of the classic novel. And yet, for all its spectacular in-camera effects, Oscar-winning costumes by Eiko Ishioka, and Gary Oldman's powerhouse performance, the hosts find themselves a little lost in the crimson mist.

Lemar and Mackenzie agree that this film, despite its good parts (and they are gorgeous parts), is simply trying to do too much. We discuss the overstuffed plot, which attempts to be a sweeping historical tragedy, a lurid gothic horror, an erotic thriller, and a faithful period piece all at once. We praise Oldman's captivating Count, the lush, jaw-dropping visual artistry, and the sheer audacity of the production. But we can't ignore the narrative confusions, the wildly uneven supporting performances (poor Keanu), and the overall feeling of maximalism that leaves the story feeling dispersed rather than cohesive.

Tune in as we try to see the good in this operatic monster movie, ultimately concluding that sometimes, even a masterpiece can be too much of a good thing.

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