Universal’s history of horror is well documented. It’s why they tried too hard to relaunch their iconic monsters under the Dark Universe moniker. Luckily, they’ve transitioned to a more palatable series of one-offs, reinventing characters of decades past. Abigail fits into this vein. It’s clearly inspired by some of the old Lugosi films and its sequels. Yet it’s very modern in its construction. Embracing the violence and chaos of contemporary monster flicks helps Abigail become something more. While its exposition is clunky, Radio Silence (Scream VI, Ready or Not) delivers a movie that rarely shines in ways studio horror does.

One night, a group of professional criminals are pulled together for a job. Joey (Melissa Barrera) travels with the group leader Frank (Dan Stevens) and muscle Peter (Kevin Durand). Meanwhile, the wheelman Dean (Angus Cloud) waits with hacker Sammy (Kathryn Newton) and sniper Rickles (William Catlett). Their job, kidnapping a young girl named Abigail (Alisha Weir), goes off without a hitch. However, there’s more to Abigail than the crew knows. During the night, the members of the team turn on Abigail and each other in a fight for survival.

Directors Matt Bettinelli-Olpin, Tyler Gillet, and producer Chad Villella continue their good fortune. Abigail gets to be bloody, poppy, and downright fun. They craft excellent gore effects, surpassing some moments of Ready or Not. They also get to take big swings outside of the IP environment of the Scream franchise. Abigail gets to play in the sandbox of studio-backed horror while still feeling fresh in the most important ways. For the trio, it’s a huge win.

However, some of their issues reoccur. Most frustratingly, they continue to embrace a darker visual palette. The “grunge” look does not always service the movie, and while it conveys grittiness, the narrative does enough on its own. It feels like a hat on a hat while lessening the effects of visuals. Sometimes, it’s as if they’ve turned down the lights so you cannot see the gore. Yet, at the same time, limbs and bodies explode. The visual look of Abigail seemingly fights against the very images Bettinelli-Olpin & Gillet want to create.

The screenplay also gets bogged down in exposition. Early in the movie, there’s a discussion about each other’s jobs and lives. This wastes time and becomes irrelevant when other facts are revealed later. Other characters are framed as professionals with tons of experience. However, their actions at various points in Abigail seem to contradict these claims. This is not a criticism against characters doing something dumb in a horror movie. This is a frustration with the screenplay itself.

Yet despite these issues, Abigail soars when it’s in gear. The blood and gore effects are among the most impressive of the year. The practical effects are gorgeous and often offset the CGI frustrations. The makeup teams deserve trophies for keeping the continuity and savagery of the effects. A scene in a dimly lit hallway towards the end of Abigail easily earns standout honors, but anything that occurs in the basement is a close second.

Additionally, the cast rises to the occasion. Barrera does not do anything to write home about, but she still proves an intriguing scream queen. Stevens steals the show once again, and channels a unique vibe into Abigail. It’s concerning how well he can play a menacing dirtbag yet remain likable throughout. The two provide opposing ideological bases, and each performer inhabits their role. They also make for excellent foils to each other, helping Abigail feel like it has characters to root for. They especially pair well with Weir, whose relationships with each help evolve the story. Weir is admirable, but Radio Silence does not write this girl well. It’s a surprising shift from the Scream teens.

Newton joins Stevens in stealing the show, especially in the final act. She plays into aspects of her scream queen persona, but as we’ve seen previously in Freaky, she can shift on a dime. Kevin Durand also surprises, showing a range closer to Bautista’s gentle giant persona. Durand has dramatic chops, but the comedy was stronger than we’ve seen from him previously.

Catlett has little to do, and the screenplay gives him limited scenes. Nothing here is his fault, but more a failure of writing a complex character. Cloud’s passing makes his role all the more tragic. It’s impossible to ignore how comedically talented Cloud was, especially when you combine the emotional rawness he displayed on Euphoria. It’s a sad loss, no matter which way you cut it.

WWith a fun cast and great gore effects, Abigail earns the right to scare you.. However, there are enough flaws in the story and its logic that ultimately hurt its ceiling. Despite this, audiences will find many fun moments, especially if you check it out with a crowd. It also shows promise for the emerging one-offs within the Universal Monster canon. Frankly, we need more in this vein to keep the franchise growing.

Alan’s Rating: 7/10Watch Abigail in theaters April 19th, 2024. Universal distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: ABIGAIL – A Bloody and Dark Monster Flick appeared first on Sunshine State Cineplex.