“Abigail,” directed by Matt Bettinelli-Olpin and Tyler Gillett and starring Melissa Barrera, Dan Stevens, Kathryn Newton, and Alisha Weir in a career-defining role as Abigail, is a film that initially leaves viewers questioning whether it’s an elaborate jest or merely a cinematic misstep. At times, it ventures into the realm of the ridiculous, only to ultimately unveil its true intention: to deliver a rollicking vampire comedy that adeptly blends gore with hilariously chilling moments, centered around a girl who is part Terminator, part vampire, and part… mafia ballerina.
Our time was well spent, filled with hearty laughter, surrendering to a film that, beneath its seemingly nonsensical surface, offers a wildly entertaining experience.
Plot
The storyline revolves around a cadre of criminals who kidnap a girl under the assumption of demanding a ransom. However, the girl is far from the innocent captive they expected, soon revealing her true, ferocious instincts.
About the Movie
Skillfully produced with impressive effects, “Abigail” cleverly masks its wit within a seemingly naive and classic thriller framework, later unfolding into a delightful mixture of horror and comedy. The downside? Having watched the trailer and seen the promotional images, the audience is drawn to the child’s character, already clued into the havoc she is destined to wreak from the outset. Ideally, the film aims to maintain a suspenseful ruse for its first half, stylistically misleading the audience, but swiftly morphs into a highly entertaining blend of action, comedy, and horror.
Boasting a modest budget of nearly $30 million, the film quickly emerged as a moderate success, recouping its investment promptly. With a straightforward narrative that doesn’t disappoint, it delivers exactly what audiences anticipate, proving to be yet another profitable venture for the production company. Without taking artistic risks, “Abigail” achieves economic success.
A Comedy Horror Movie That Dodges Parody
Typically, horror comedies face the challenge of teetering on the brink of parody, oftentimes succumbing to it and becoming forgettable. “Abigail,” however, evades becoming an outright parody. It manages to pull back and temper its comedic tone, enabling action sequences to shine through, and ultimately establishes itself as an entertaining, amusing, and moderately horrifying product.
Our Take
“Abigail” ends up pleasing all involved parties: the production house profits; the actors enrich their portfolios with ease; the artistic team provides commendable work; and, most importantly, the audience leaves theaters feeling satisfied after an enjoyable afternoon in the company of a character who undoubtedly leaves a lasting impression.
