Every now and again, I like to watch a good horror. There’s something about knowing that most of the characters will shortly be dead that is somewhat satisfying. Throw in a bit of blood and screams of terror, and I’m sorted.

So, unsurprisingly, I gave this film a shot.

Abigail is a 2024 American vampire horror comedy film directed by Matt Bettinelli-Olpin and Tyler Gillett, and written by Stephen Shields and Guy Busick. It stars Melissa Barrera, with Alisha Weir as the title character, and Dan Stevens, Kathryn Newton, Will Catlett, Kevin Durand, Angus Cloud (posthumously), and Giancarlo Esposito in supporting roles.

The premise is deceptively straightforward and hooks you immediately: a ragtag crew of criminals kidnaps 12-year-old ballerina Abigail (the phenomenal Alisha Weir), the daughter of a feared underworld figure, and holes up with her in a remote, opulent mansion for 24 hours while awaiting a $50 million ransom. Sounds so simple, right?

What begins as a contained crime thriller—complete with colorful character dynamics and snappy banter—quickly spirals into chaos when the kidnappers realize their seemingly innocent captive is far more dangerous than they could have imagined. The film smartly plays with expectations in its first half, building suspense through interpersonal tensions, before unleashing its horror elements with escalating intensity.

t the heart of the film’s success is its outstanding ensemble cast, who fully commit to the over-the-top fun. Melissa Barrera shines as Joey, the former army medic and most level-headed member of the group, bringing heart, resourcefulness, and genuine likability to a role that could have easily been generic. She’s the audience’s emotional anchor amid the madness. Dan Stevens is an absolute delight as the sleazy, self-centered Frank, chewing scenery with villainous glee and injecting plenty of dark humor. The supporting players are equally memorable: Kathryn Newton as the hacker Sammy, Kevin Durand as the dim but endearing muscle Peter, William Catlett as the pragmatic Rickles, and the late Angus Cloud (in one of his final roles) as the getaway driver Dean, who nearly steals scenes with his oddball charm.

ut the true standout is young Alisha Weir as Abigail. Following her breakout in Matilda: The Musical, Weir delivers a star-making performance here—menacing yet oddly endearing, vulnerable yet terrifying. She nails the ballerina grace in her movements (the fight choreography incorporating dance elements is brilliant and balletic), flips between wide-eyed innocence and feral predator mode effortlessly, and sells both the horror and the comedic beats.

isually and stylistically, Abigail is slick and confident. The isolated mansion setting is a perfect playground—grand, shadowy, and filled with opportunities for creative kills and chases. The practical effects and gore are top-notch: buckets of blood, inventive vampire violence, and some genuinely squirm-inducing moments that don’t shy away from the R-rating. Yet the directors balance the horror with sharp humor—quippy one-liners, absurd situations, and character-driven laughs that prevent it from ever feeling mean-spirited.

Three stars out of five from me.

Have you seen it? Let me know what you think.