Abigail (2024)

Abigail-(2024)
Abigail (2024)

The B-movie is set in a caper film and conceived by the same sillies that brought us Ready or Not and the recent Scream films. In the end, Abigail’s evolution does little to redeem its insipid attempts at witticism and yet another tired plotline involving vampires, which only makes us yearn for a more incisive form of entertainment.

The dumbest plot begins with the kidnapping of some street-wise lowlifes who are unqualified for the job they attempt to perform. The plot synopsis itself reveals that the movie Abigail has not been accurately categorized; it instead has multiple categories. Is it a parody of Bergman’s film, Son of Dracula? Is it a heist feature? Or simply a misguided extremely misguided film from peripherally obsessed horror fans of Universal Studios. In conclusion, Abigail tries to be something that left the film industry a very long time ago. It tries to recover at the present time but fails as it employs numerous ideas that just do not work in the horror genre at all.

Many errors in the movie’s elucidation were covered by its main heroine, Abigail, and as such it seems that Tchaikovsky would be turning in his grave. While Alisha Weir does her part just fine and sinks her teeth into her character, offering some bones to the character would add more fun than aiming for the caricature. Sadly, her wit and some of her personality traits that revolve around torture were frightening more in the way of the Looney Tunes than Dracula and his descendants ever were.

A little improvement comes from the supportive cast with some performances which though wooden still fall short of cringe-worthy. Comic relief in the film is missing as one of the main characters utters the weakest curse you will ever hear which is as appealing as the onion which appeared in the film twice. Melissa Barrera is very unconvincing as the character who is morally right in the film and Dan Stevens seems to me playing the part without plug ins being a villain in the film.

The late Angus Cloud could have been given a meaningful send-off, however, instead we get a typecast as the character is a bland imitation of his ignorant stoner character from Euphoria. Even the talented and typically dependable Giancarlo Esposito does nothing to help the story, instead his presence is a sad reminder of how much potential the film had.

At least Abigail has the atmosphere, which is in no short supply thanks to The First Omen cinematographer Aaron Morton, who adds to the film’s gothic environments a particular brand of eccentricity. Sadly, any aesthetic qualities are marred by the excessive use of a cheap sense of gore and jump scares in the film.

Abigail in the end is a film that is skin-deep and has no depth. Although there might still be some entertainment value in it, chances are that the franchise execution will obliterate any such fleeting chances. Abigail however, is perhaps the saddest of them all. What are the consequences of prioritizing making the money over making the art? This is what I shall show you when the credits are over. It happens all the time and nothing is learned at the box office by heavy-handedness and slugging it out for the cash.

As the credits come to a close, it is impossible to not feel some sadness about what would have happened if the writers of this film were just a little more willing to stretch the coffin lid a little more. Unless pain is your thing, consider looking for a different bar, one that is quite a bit higher.

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