Abigail 2024
The trailer for “Abigail” provides a comprehensive glimpse into this quirky high-concept horror thriller, which revolves around a group of kidnappers who find themselves in over their heads after they accidentally snatch a child-sized vampire ballerina. Alisha Weir portrays the vampire with a playful flair, truly coming to life when she’s either stalking or eyeing her victims. Fans of the genre will recognize several familiar faces in the ensemble cast, all of whom strive to make the most of the quirky material. They engage in plenty of cursing (which feels like an attempt to overcompensate), run around each other, and get eliminated one by one.
If you’re tuning in to “Abigail” for a body count adventure featuring notable performances from actors like Kevin Durand and Dan Stevens, you already know what to expect. Most of their co-stars manage to keep pace, even in less compelling roles, such as Melissa Barrera’s underdeveloped anti-heroine team leader. The film also showcases a fair amount of thick blood splatter and some decent vampire makeup, particularly the fangs. While some action sequences are well-executed, they tend to be over-edited and shot just ahead of the action. Overall, this 90-minute genre piece sticks to conventional tropes, which is part of its intended charm.
I can’t stay upset with “Abigail” for delivering what its marketing promised. While the film’s creators, co-directors Matt Bettinelli-Olpin and Tyler Gillett (known as “Radio Silence,” the minds behind “Ready or Not” and the 2022 “Scream” reboot), could have offered more depth, disappointed viewers can’t really argue about false advertising. The plot follows a predictable formula, and the characters are quite clichéd.
The story revolves around a group of squabbling misfits who kidnap the titular character (Weir). They hilariously follow her home using an oversized gadget attached to her chauffeur’s car. Once they take the seemingly 12-year-old girl to a remote mansion, they are reminded of the seriousness of their mission. The slick but shady leader, Lambert (Giancarlo Esposito), lays down the rules: no real names, no cell phones, and nothing personal just 24 hours of babysitting a pre-teen who loves to dance her way through “Swan Lake” rehearsals. It’s straightforward and uncomplicated.
We gain minimal insight into the characters, largely due to a moment where Lambert assigns them nicknames inspired by the Rat Pack. Durand’s character, a cheerful yet dim-witted muscle-bound guy named Peter, struggles to understand why he’s been given a name associated with rats. Eventually, he realizes it’s just a fleeting pop culture reference and quickly moves on.
Peter emerges as the most relatable character in “Abigail,” as he consistently pushes against the boundaries of his character’s knowledge and abilities. He is accompanied by a lineup of familiar archetypes, including Abigail’s caretaker, the compassionate and perceptive Joey (Melissa Barrera); their annoying and inebriated driver Dean (the late “Euphoria” star Angus Cloud); and the stoic ex-soldier Rickles (William Catlett). As the story unfolds, the group must contend not only with Abigail but also with a few predictable challenges, such as their bratty and easily distracted tech whiz Sammy (Kathryn Newton) and their foul-mouthed, oddly accented former cop backup leader Frank (Stevens).
Once Abigail breaks free from her handcuffs, the lighthearted traits of the party game characters become irrelevant. The house where Abigail’s victims reside has a bit more character, resembling a gothic version of the setting from “Clue.” Perhaps that’s all it takes to enjoy watching a cast navigate the challenges of confronting a “real” vampire. However, nothing particularly memorable comes to mind.
It’s tough to feel enthusiastic as you watch a group of skilled actors struggle to make their characters engaging, as this doesn’t necessarily translate to genuine interest from the audience. The dialogue could have been more dynamic; instead, it mainly serves to guide viewers through the plot’s transitions. There was also potential for more development with Joey, who at one point shoves a loaded gun into her jeans’ waistband, leaving me both skeptical and intrigued.
“Abigail” might find its niche if it benefits from the right timing and some hopeful expectations. While it’s not poorly crafted, it lacks inspiration and feels overdone. If you enjoy low-budget B-movies and are in search of something easygoing, “Abigail” could be a fit. However, it may also leave you feeling let down, especially if you anticipate more than what is presented.
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