Kidnappers Get a Bloody Surprise in Hilarious ‘Home Alone’ Style Horror-Comedy ‘Abigail’!

Radio Silence, the renowned filmmaking trio composed of directors Matt Bettinelli-Olpin and Tyler Gillett, along with producer Chad Villella, hit a jackpot with their dark comedy-infused horror-thriller “Ready or Not” in 2019. The film, featuring Samara Weaving as a young bride involved in a lethal game organized by her affluent future family, showcased their impressive ability to blend a carefree attitude with brutal violence. This success led them to oversee the next two “Scream” films, marking the first time the series will be directed without Wes Craven.

Their latest venture, “Abigail,” has brought Universal into a partnership with Radio Silence, with the hope that their distinct take on female-led horror could reap significant rewards at the box office and potentially spawn a franchise. With a script penned by Stephen Shields and Guy Busick, who also co-authored “Ready or Not,” Radio Silence has essentially crafted a spiritual successor to their breakout hit, but with vampires as antagonists instead of wealthy, superstitious sadists. The film stars “Scream” queen Melissa Barrera.

Similar to their previous work, the setting is an eerie mansion filled with taxidermy and illuminated by firelight. The protagonist is once again a resilient, gutsy young woman with a single vice. Weaving’s character, Grace, liked to smoke, while Barrera’s Joey is fond of hard candy. Again, a group gathers in the remote mansion with a task to complete within a stipulated time frame.

In “Abigail,” the group is composed of cynical kidnappers tasked with abducting and guarding Abigail (Alisha Weir), the 12-year-old daughter of a wealthy and influential man. Their employer, Lambert (Giancarlo Esposito), assigns them nicknames to maintain anonymity, before leaving his “pack of rats.” They anticipate an easy payday, keeping their young hostage in another room while they enjoy their evening. However, Abigail is far from an ordinary child, and she apologizes to her captors for what’s about to happen to them.

As revealed in the trailers, the seemingly innocent Abigail is actually a bloodthirsty vampire who begins to prey on each kidnapper. “I like to play with my food,” she says, revealing her jagged, discolored fangs. Weir, who previously starred in “Matilda the Musical,” fully embraces this physically demanding role that combines ballet and savage combat. The tradition of terrifying young girls in horror films, such as “The Bad Seed” and “The Exorcist,” is well-maintained with the addition of “Abigail.”

The cast excellently transitions from humor to fear, led by Stevens, who brings a New York accent and a pair of aviators to portray the dubious and unreliable Frank. Newton, who has appeared in numerous horror films, effortlessly flirts with her character’s monstrous side. Durand, capitalizing on his French-Canadian heritage, plays a muscle man from Quebec who relies more on strength than intellect. But it’s Barrera’s Joey, with her rare vulnerability and empathy for children, who anchors the film.

A recurring theme of parent-child relationships is evident in the plot, with both Abigail and Joey discovering something they lack in each other. The story doesn’t delve much into subtext, and the verbose script uses expository dialogue to keep audiences informed about various rumors, plot twists, and betrayals. The characters engage in lengthy discussions about vampire mythology and reference works like Anne Rice’s novels, “True Blood,” “Twilight,” and “Nosferatu.”

Bettinelli-Olpin and Gillett have a distinctive maximalist approach to horror. The blood in their films is dark and sticky, and they don’t shy away from graphic depictions of violence. Their unique style also pays tribute to legendary works like Kathryn Bigelow’s “Near Dark,” the agile vampires of “Blade,” and a subtle script reference to the 1936 film “Dracula’s Daughter,” which adds a nuanced double meaning to the film.

At times, “Abigail” can seem excessively light-hearted, exaggerated, and even prolonged in its graphic portrayal of exploding “meat sacks,” yet it perfectly aligns with Radio Silence’s distinct sensibility, which is currently popular with audiences.

From “Ready or Not” to “Scream” to “Abigail,” the strength of these films lies in their ability to connect with current societal sentiments through their working-class heroines. Like Grace and Barrera’s character Sam in “Scream,” Joey is hardened by the harsh realities of life but remains determined to survive. Despite being battered and bloodied, she manages to find a glimmer of hope in this bleak world, making her a relatable final girl.

Katie Walsh is a film critic for Tribune News Service.