Abigail

I finally got around to watching Abigail (2024), directed by the ever reliable duo Tyler Gillett and Matt Bettinelli-Olpin, collectively known as Radio Silence. My understanding is that after completing Scream VI, they pivoted to this project before their planned return for Scream 7, which, as we now know, did not materialise in the way many fans had hoped. Knowing that context adds an extra layer to watching Abigail, and if anything, it deepens my disappointment about what could have been. I go into that more in my Scream 7 review over on YouTube which you can watch below.

So why does Abigail stir that reaction in me? Because it reinforces just how well this creative team clicks with Melissa Barrera. There is a natural synergy there that feels effortless, and once again she proves herself to be a compelling and grounded presence in the middle of chaos. It is the kind of collaboration that feels like it still has more to give, which makes its absence elsewhere all the more frustrating.

As someone who has a real soft spot for vampire films, I went into this hoping for something that could sit comfortably alongside favourites like 30 Days of Night, Vampires, and From Dusk till Dawn. While Abigail does not quite reach those heights, it does not really try to either. Instead, it carves out its own lane as a chaotic, blood soaked thrill ride that leans heavily into its sense of fun, and that is where it thrives.

The setup is refreshingly simple and wastes absolutely no time getting going. A group of small time criminals kidnap the ballerina daughter of a powerful underworld figure, retreating to an isolated mansion to wait out the ransom. It is a familiar premise, but the film wastes no time flipping expectations. Once those shutters come down, the tone shifts, and it becomes clear they are not dealing with a helpless child, but something far more dangerous. The confined setting works in the film’s favour, creating a pressure cooker environment where paranoia and panic escalate quickly.

The ensemble cast is another major strength. Alongside Barrera, you have Dan Stevens, Kevin Durand, Kathryn Newton, and the late Angus Cloud, all of whom clearly had a blast making this movie. Stevens in particular stands out for me. I have been a big fan of his for a while, and this film proves exactly why. His charisma, unpredictability, and sharp comedic timing make him incredibly watchable, often stealing scenes without ever feeling out of place within the ensemble.

What really impressed me was how well the humour lands. Horror comedy is a difficult balance to get right, but here the balance is spot on and the comedy never undercuts the tension. One standout moment had me genuinely laughing out loud. When the group realises they are trapped with a vampire and begin scrambling for solutions based on pop culture logic, Sammy runs off to grab garlic and instead returns with a bag of onions. Frank’s reaction, delivered perfectly by Stevens with a dry “Sammy, those are fucking onions,” completely caught me off guard. It is a small moment, but it perfectly captures how out of their depth this group really is.

From a horror standpoint, the film delivers where it counts. It has a strong mixture of horror elements, the suspense of trying to see if the vampire is lurking in the darkness of the corridors, and outright chaos from the bloodshed. The creature design is effective without being overcomplicated, and the film does not hold back when it comes to the violence. There is a gleeful excess to it all that feels very intentional, like the filmmakers are fully embracing the madness.

The pacing is another big plus. It kicks off quickly and maintains that momentum throughout, never really giving you a chance to switch off. The final act in particular is where everything comes together. Without giving anything away, the climax is energetic, chaotic, and genuinely satisfying. It fully leans into what the film has been building towards, and I had a massive grin on my face by the time it wrapped up.

Ultimately, Abigail is a highly enjoyable vampire movie that knows exactly what it is and executes it with confidence. It reinforces my frustration that Barrera and Radio Silence did not returning for Scream 7, because their chemistry is undeniable. But if this is the kind of chaos they deliver when left to their own devices, then maybe that frustration comes with a silver lining. Abigail is loud, bloody, unpredictable, and above all else, a ridiculously fun reminder of why vampire films still have bite.