Matthew Briody examines the stakes of clever vampiric comedy Abigail.
When planning to kidnap a young girl, ransom should be the easy part. However, in Matt Bettinelli-Olpin and Tyler Gillett’s darkly comic film, things take a turn for the terrifying. The daughter of a powerful figure in the criminal underworld, eponymous Abigail (Alisha Weir), is targeted by a group of so-called professionals. As events unfurl, the opportunistic felons become the ultimate targets.
The film opens with Abigail in her natural element. Practising ballet on stage, she is poised and graceful. Every move is precise and controlled. This skill is something that Abigail makes full use of later in the narrative. Intercepted by the kidnappers on her way home, Abigail is taken to an abandoned manor. With its gothic architecture and eerie atmosphere, this space is steeped in history. And by the end of the night’s events, it will be steeped in blood.
The ragtag crew is made up of misfits, each with their own crosses to bear. In an attempt to protect their identities, the man in charge, Lambert (Giancarlo Esposito) assigns nicknames. There’s Joey (Melissa Barrera), Frank (Dan Stevens), Rickles (Will Catlett), Sammy (Kathryn Newton), Peter (Kevin Durand), and Dean (Angus Cloud in what is tragically one of his final film roles). These are seemingly random but they are eventually explained in a satisfying payoff.
Once the kidnappers think they have Abigail contained, they find out a horrifying secret. This was no ordinary job, and Abigail is no ordinary little girl. She is a formidable vampire and these hapless criminals have walked right into a trap. What follows is a struggle to survive the night as the hunters become the hunted. Abigail stalks her prey, resulting in a number of shocking but satisfying kills.
Stephen Shields’ and Guy Busick’s script is filled with dark humour and witty dialogue. Shields has already made his mark on Irish horror films after co-writing The Hole in the Ground with Lee Cronin. Busick is well versed in the art of horror after co-writing the two latest Scream films. Bettinelli-Olpin and Gillett also helmed those films, so the synergy between their direction and script is palpable. They only show what needs to be seen and the stakes are being raised constantly. Dark corridors and dimly lit studies are dangerous environments where threat lurks behind every corner.
The ensemble cast works well together. Angus Cloud is memorable in his small role as Dean thanks to the script’s cutting dialogue. Will Catlett’s gruff turn as Rickles imbues the character with a sense of authority. Kevin Durand reveals the softer side to his character, Peter, who is more than just the muscle of the group. He’s a gentle giant. Kathryn Newton adds a sense of familiarity as Sammy, an expert in all things vampires, she delivers vital exposition. While Giancarlo Esposito appears briefly, he doesn’t waste a minute of screen time, slick and sinister all at once.
The emotional heart of the film is anchored by both Melissa Barrera (another alumna of Scream) and Alisha Weir. Barrera brings a vulnerable authenticity to Joey, while Weir continues her rise to stardom with a committed performance as Abigail, having just impressed audiences with her portrayal of Matilda in Matilda: The Musical. This is made all the more impressive by the fact that Weir is able to not only hold her own against the cast, but shines in the titular role. Through her fluid movements and vicious vampiric rampage, Weir cements herself as this iconic character.
The clever script is partly penned by an Irish writer and was shot entirely in Dublin, the birthplace of Bram Stoker and Dracula. Yet Abigail’s unique premise reinvents the vampire movie, with innovation as fresh as What We Do in the Shadows.
Bearing razor sharp fangs, Abigail delivers a delicious dance with death.
Abigail is available to stream online now.
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