Abigail (2024)
Abigail serves up a campy horror cocktail that’s more Scream than Nosferatu. Giancarlo Esposito, who plays the enigmatic Lambert, leads a ragtag group of kidnappers in the abduction of Abigail, the seemingly innocent daughter of a powerful crime lord. But this isn’t your typical hostage situation. After a series of hilariously botched plans and some genuinely creepy moments, the crew discovers their captive is anything but ordinary—she’s a full-fledged vampire with a taste for, well, blood.
The film throws it all at the wall: dark humour, buckets of gore (courtesy of some impressive practical effects), and a surprising amount of heart. While the plot won’t win any originality awards, borrowing heavily from familiar “home invasion gone wrong” tropes, it’s the execution that keeps things entertaining. The first act crackles with energy, establishing the bickering dynamic of the kidnappers, a motley crew that feels straight out of a Quentin Tarantino flick. We’ve got the hothead (complete with a questionable neck tattoo), the tech whiz with a penchant for cheesy one-liners, and the obligatory damsel (who, thankfully, gets a chance to shine later on).
Esposito, channelling his inner Don Draper, is a scene-stealer, even with limited screentime. But the real breakout performance comes from newcomer Alisha Weir as Abigail. She effortlessly shifts between wide-eyed innocence and bloodthirsty predator, making the character both terrifying and strangely endearing. The supporting cast holds their own, with some genuinely funny exchanges.
The direction by Matt Bettinelli-Olpin walks the tightrope between stylish and self-aware. The camerawork is dynamic, with some clever slanting and tilting angles during the more intense sequences. The score, a blend of classic gothic horror cues and modern synth, perfectly complements the film’s offbeat tone. The editing is sharp, keeping the pace brisk, although a few jump scares feel a tad forced.
Sometimes the dialogue can be uneven, with witty banter interspersed with awkward exposition dumps. The ending, while satisfying in its own campy way, feels a little rushed. Die-hard horror purists might find the humour undermines the scares, but for those looking for a fun, gory romp with a surprising amount of charm, Abigail delivers.
Overall, Abigail is a solid genre-bender that knows exactly what it wants to be—a popcorn flick with a bite (pun intended). If you’re in the mood for some laughs alongside the shrieks, this one’s for you. Just don’t expect a cinematic masterpiece.