A gothic tale of kidnapping and vampiric terror

Title: Abigail Director: Matt BettinelliOlpin, Tyler Gillett Cast: Melissa Barrera, Dan Stevens, Kathryn Newton, William Catlett, Kevin Durand, Angus Cloud, Alisha Weir, Matthew Goode, Giancarlo Esposito Where: In theatres near you Rating: ★★★

This film plunges us into the chaotic world of a band of inept kidnappers whose ambitions are quickly overshadowed by the seemingly fragile yet terrifyingly deadly presence of their young hostage, Abigail -the 12-year-old ballerina, in a Gothic setting reminiscent of classic monster films.

From the outset, the film promises a blend of suspense, humour, and horror but falls short of its lofty ambitions. The screenplay by Stephen Shields and Guy Busick demonstrates an unexpected level of intelligence, particularly evident in the early scenes where the characters are quickly established through sharp dialogue and interactions. Each member of the motley crew of kidnappers is distinct, from the hard-boiled former detective to the spacey getaway driver, providing a solid foundation for the ensuing chaos. However, while the script effectively sets up the premise, it falters in fully capitalizing on its potential as a tribute to Universal monster films of the past.

Directorial duo Matt Bettinelli-Olpin and Tyler

Gillett, known for their work on the recent

Scream films, bring a frenetic energy to the narrative, maintaining a breathless pace throughout. The film’s tone oscillates between comedy and horror, with moments of black humour interspersed with gruesome violence. While this approach injects vitality into the proceedings, it also contributes to the film’s unevenness, particularly in its later stages where overtly excessive horror-driven action sequences begin to weigh it down.

The ensemble cast delivers committed performances, with notable standouts including Melissa Barrera as the medic Joey, who brings a fierce intensity to her role, and Alisha Weir as the titular Abigail, whose portrayal oscillates between frightening and sardonically funny. Dan Stevens, known for his versatility, embraces the role of the embattled leader of the kidnappers, adding depth to a character that might otherwise have been one-dimensional. Thematically, the telling attempts to explore the dynamics of power and survival in the face of supernatural threat, as the hapless kidnappers find themselves outmatched by their pint-sized adversary. However, the film’s reliance on excessive gore and physicality detracts from its potential for deeper exploration of these themes. While the visceral thrills may satisfy some audiences, they ultimately overshadow the more nuanced aspects of the narrative. Visually, the film succeeds in creating a Gothic atmosphere reminiscent of classic horror films, with its eerie mansion setting and atmospheric cinematography. However, the film lacks the visual flair necessary to elevate it beyond its genre trappings, relying instead on familiar tropes and imagery.

Overall, from its blood-soaked ballet to its wickedly funny dialogues, the film is a mixed bag of genre elements, blending suspense, humour, and horror in a frantic and often chaotic manner.

In the end, fans of gleefully anarchic vampire films may enjoy its irreverent approach, but those seeking a more cohesive and thematically rich experience may be left wanting.