I was invited to the premiere screening of Abigail, and prior to the screening I was worried. I was worried because I am a huge fan of the horror genre, but over the last few years I’ve been let down by horror films. But Abigail might have just been the spark to reignite the genre for me.
Abigail, directed by Matt Bettinelli-Olpin and Tyler Gillett, breathes new life into the timeless legacy of Universal Classic Monsters. This reimagining of the 1936 film “Dracula’s Daughter” takes us on an exhilarating journey through shadows and secrets.
The story follows a group of would-be criminals who kidnap the 12-year-old ballerina daughter of a powerful underworld figure, all they have to do to collect a $50 million ransom is watch the girl overnight. In an isolated mansion, the captors start to dwindle, one by one, and they discover, to their mounting horror, that they’re locked inside with no normal little girl.
The female cast were outstanding in this. Alisha Weir, in the titular role, delivers a performance that is both haunting and magnetic. As the daughter of Count Dracula, she dances between vulnerability and menace, leaving an indelible mark on the screen. Melissa Barrera portrays Joey, one of the kidnappers caught in Abigail’s web. Her emotional range is solid, and her chemistry with Weir creates a captivating dynamic. Barrera’s portrayal is a testament to her versatility as an actress. Kathryn Newton graces the screen as part of the criminal ensemble. Her presence is mysterious, and her interactions with Abigail reveal hidden layers. Newton’s performance adds depth to the film’s suspenseful atmosphere.
But the rest of the cast hold their own, Dan Stevens, as Frank, brings a conflicted heroism to the table. His internal struggle mirrors the external battle against darkness. Stevens balances vulnerability and determination, making Frank a character we root for. Catlett and Durand play off each other brilliantly. Catlett’s intensity as a kidnapper contrasts with Durand’s pragmatic skepticism. Their interactions provide moments of tension and dark humor. Giancarlo Esposito, as the underworld figure pulling the strings, exudes power and is quite cunning. His scenes with Weir provide the tension, revealing the intricate web of relationships. Last and certainly not least, Angus Cloud, in his last film role before his untimely passing, leaves an enduring impression.
Cinematographer Aaron Morton paints a canvas of shadows and moonlight. The isolated mansion becomes a character itself, echoing Abigail’s dual nature. The suspenseful score set by Brian Tyler heightens the stakes.
Abigail is more than a horror film; it’s a dance of light and darkness. The female cast members elevate the narrative, infusing it with raw emotion. Weir’s Abigail is a mesmerizing force, and Barrera, Newton, and the ensemble weave a spellbinding tale full of twists and turns. Prepare to be enthralled by this haunting symphony of blood and secrets.
Email:neill@outloudculture.com
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