---
title: "Abigail"
year: 2024
kind: "film"
canonical: "https://film.one/film/abigail"
fi1m_id: "abigail"
imdb_id: "tt27489557"
tmdb_id: 1111873
wikidata_id: "Q120758628"
fi1m_score: 70
critics_score: 68
critics_reviews: 20
published: "2026-09-09"
updated: "2026-09-18T08:37:59.539487+00:00"
region: "RO"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Abigail (2024)

Directed by Tyler Gillett, Matt Bettinelli-Olpin · 1h 49m · RO 18 · Horror, Thriller, Comedy

## Identity

Abigail

- **Canonical:** https://film.one/film/abigail
- **Type:** Film
- **Fi1m ID:** abigail
- **IMDb ID:** tt27489557
- **TMDB ID:** 1111873
- **Wikidata ID:** Q120758628
- **Same entity:** https://www.imdb.com/title/tt27489557/, https://www.themoviedb.org/movie/1111873, https://www.wikidata.org/wiki/Q120758628

**Fi1m score: 70** · Critics 68 from 20 reviews

*In a sentence:* Six kidnappers, one ballerina, and the tutu stays pink for about forty minutes

> Radio Silence turn a kidnap film into a vampire film, with a superb small monster in Alisha Weir and bodies that burst rather than bleed. It is also twenty minutes too long and cannot stop explaining its own rules.

## Synopsis

Six strangers are hired to snatch a twelve-year-old girl from her home, drive her to an empty mansion and keep her there for twenty-four hours while her father pays. Lambert (Giancarlo Esposito), who hired them, gives them Rat Pack names and forbids them to tell each other anything true. Joey (Melissa Barrera), a former medic, is put in charge of the child. Frank (Dan Stevens), a former policeman, decides he is in charge of everyone else. Sammy (Kathryn Newton) handles the alarms, Rickles (William Catlett) the guns, Peter (Kevin Durand) the heavy lifting and Dean (Angus Cloud) the driving. The girl, Abigail (Alisha Weir), was taken from a ballet rehearsal and asks quietly to be let go. Then they learn whose daughter she is.

## Review

Tyler Gillett and Matt Bettinelli-Olpin, who work together as Radio Silence, made *Ready or Not* (2019), in which a bride spent her wedding night being hunted through her in-laws’ house. *Abigail* is the same trick with the furniture rearranged. Six criminals kidnap a twelve-year-old ballerina, take her to a mansion in the country and settle in to wait for a ransom. The trailers have told everybody what happens next, so we will say it too: the child is a vampire, and the doors are locked. It is a rowdy, bloody, likeable film that would be better at ninety minutes, and it cannot stop telling us its rules.

The first stretch plays as a straight heist. Lambert (Giancarlo Esposito) hands the crew Rat Pack names, Joey, Frank, Sammy, Rickles, Peter, Dean, and tells them not to swap anything true. Susie Cullen’s mansion is the film’s best idea after the girl: panelled halls, a spiral stair, a kitchen with a dumbwaiter, a library, a swimming pool in the basement, all of it lit by Aaron Morton in lamplight and brown shadow so that the corners are never quite empty. The crew bicker and drink and wander off alone. If you have somehow avoided the marketing, this half hour is tense. If you have not, it is a long wait for something you already know.

Then Alisha Weir gets to work, and the film finds its feet. Weir plays Abigail first as a frightened child who asks politely to go home, then as something that has been alive far longer than the men guarding her and is bored by them. She dances when she kills. The moment that got us was a sound: a girl’s feet in pointe shoes coming down a dark corridor towards a man who has just realised what she is, and our skin went cold. Gwen Jeffares Hourie keeps her in a pale pink leotard and tutu, and the pink lasts about forty minutes before it starts going dark from the hem up.

Dan Stevens, as Frank, the former policeman who appoints himself leader, plays it with an American snarl and a grin that says he has read the script and knows how much fun he is having. He and Weir have the film between them. Kevin Durand’s Peter, the muscle, is sweet and slow and gets the best lines about what vampires can and cannot do. Kathryn Newton and William Catlett are fine and underused. Angus Cloud’s Dean is a getaway driver who is never quite awake, and the film knows how to use him.

The gore is the point and it is done well. Bodies do not bleed here; they go off, and the first time one did we laughed out loud and then felt a bit ashamed of ourselves. Michael P. Shawver cuts the early kills fast and clean, so that the joke and the shock arrive together. Brian Tyler’s score keeps returning to *Swan Lake*, which is the joke told again in music, and it works every time. By the fourth explosion, though, we had noticed that each one was the same as the last, and we started to check the time.

The trouble is Stephen Shields and Guy Busick’s script, which does not trust the premise to carry itself. Every twenty minutes somebody stops to list what kills a vampire, then the film tests the list, then someone amends it. Melissa Barrera’s Joey is given a child of her own and a drug habit she has beaten, and Barrera plays it with a steadiness that turns into flatness as the film asks her to carry more and more of the feeling. The last half hour reverses itself three or four times, adds a character it did not need, and ends on a fight in which we lost track of who was where.

*Ready or Not* had one house, one night and one rule, and it was out of the door in under a hundred minutes. *Abigail* has the same house and about the same night, and runs 109, and nearly all of the extra is talk. It carries an 18 certificate and earns it in the first hour. Go with people who laugh at blood, and do not ask what happened to the plot in the last twenty minutes, because the film is not sure either.

*Fi1m score 70, published 9 September 2026.*

## What the critics say

Most critics have a good time with Abigail, and they agree on why. The praise clusters around Alisha Weir, whose turn as the vampire ballerina is called out in nearly every review as the film’s chief asset, and around the splatter itself: the mansion set pieces, the escalating gore and the jokes that come with it. Dan Stevens and the wider ensemble draw regular credit.

The reservations are just as consistent. Several reviews find the story thin and the characters undernourished, and more than one notes that the trailer gives away the central twist, which leaves the first act dragging for anyone who has seen it. Polygon and Collider both single out Melissa Barrera as the weak link. The spread is wide. Variety finds the whole thing excessive and monotonous, The Guardian says the plotting collapses in the second half, and IndieWire thinks the heist framing leaves it short on impact and originality.

## Straight answers

**Is Abigail worth watching?**

*Abigail* is worth watching for anyone who laughs at blood and can forgive a horror comedy for overstaying its welcome, and we scored it 70. Alisha Weir's small vampire and Dan Stevens's grinning ex-policeman carry it, and the gore is done with real skill. It is twenty minutes too long and keeps stopping to explain its own rules.

**How long is Abigail, and what is it rated?**

*Abigail* runs 1h 49m and is rated 18 by the RO in Romania. It is a horror and thriller film.

**Where can I watch Abigail in Romania?**

*Abigail* is streaming on HBO Max in Romania, and it is also available to rent from Amazon Prime Video from lei 7.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Abigail, and is it suitable for children?**

*Abigail* is an 18 in the UK and R in the US, and it earns the certificate: bodies do not bleed so much as burst, and the film treats each explosion as a joke and a shock at once. It is not for children, and the squeamish should stay away. Teenagers used to gory horror comedy will find it more funny than frightening.

**How does Abigail compare to From Dusk Till Dawn?**

*Abigail* and [*From Dusk Till Dawn*](https://film.one/film/from-dusk-till-dawn) both trap criminals in a building full of vampires and both work better before the fangs come out. *Abigail* is the tidier film, with one house, one night and a far better monster in Alisha Weir; the Rodriguez film is grubbier, more inventive in its violence and more reliant on George Clooney's authority. Neither knows how to end.

**What should I watch after Abigail?**

After *Abigail*, try [*From Dusk Till Dawn*](https://film.one/film/from-dusk-till-dawn) (1996, Fi1m 75): Criminals on the run walk into a bar that turns out to be full of vampires. Then [*Let the Right One In*](https://film.one/film/let-the-right-one-in) (2008, Fi1m 88): A child vampire in the Swedish snow, played quietly and taken seriously; and [*Near Dark*](https://film.one/film/near-dark) (1987, Fi1m 82): Kathryn Bigelow’s vampires drive the American plains and never say the word.

### Reviews we read (22)

- **The AV Club**, Luke Y. Thompson (A-): The film is a frequently funny dance of death and a better, gorier effort from Radio Silence than expected, with strong highlights in Alisha Weir’s performance and the creepy mansion setting. It invests viewers in the story through absurdity, tension, and gore that feels viscerally funny. [Read](https://www.avclub.com/abigail-movie-review-1851418406)
- **Empire**, Kim Newman (80/100, inferred): The critic finds it a wickedly enjoyable thrill ride with gruesome splatstick comedy and several surprises once the vampire premise kicks in. They single out the fresh spin on the kidnapping-gone-wrong story and the strong ensemble cast for praise. [Read](https://www.empireonline.com/movies/reviews/abigail/)
- **Radio Times**, Jeremy Aspinall (4/5): The critic describes a fizzing, fang-in-cheek horror yarn with wild turns, gruesome twists and killer lines. It praises the knowing references to horror lore and juicy performances from the ensemble cast. [Read](https://www.radiotimes.com/movie-guide/b-d5snla/abigail/)
- **The Telegraph**, Tim Robey (80/100, inferred): The critic calls it a gloriously gory romp and easily the directors' best since Ready or Not, praising the escalating splatter, funny dialogue, and especially Alisha Weir's ferocious performance as the vampiric child. They highlight the fun conceit and commitment to horror-comedy elements. [Read](https://www.telegraph.co.uk/films/0/abigail-review-dracula/)
- **Time Out**, Sophie Monks Kaufman (4/5): The critic calls it a riotous, gory horror-comedy that creates a crossover 'vampire ballet' genre. It singles out the witty editing, tonal assurance, and strong performances from Melissa Barrera and Dan Stevens for praise. [Read](https://www.timeout.com/movies/abigail-2024)
- **Slant Magazine**, Justin Clark (75/100, inferred): The horror-comedy is sharp in more ways than one, with an over-the-top mean streak made effective by strong character groundwork and memorable violent set pieces. Weir delivers an impressive triple-act performance as the lead, though the climactic fight is busy and convoluted. [Read](https://www.slantmagazine.com/film/abigail-review-dan-stevens/)
- **Los Angeles Times**, Katie Walsh (70/100, inferred): The critic views “Abigail” as a fun, violent horror-comedy in the style of Radio Silence's previous work like “Ready or Not,” praising its energetic style and strong female lead while noting it can be overly flippant and protracted. She singles out Alisha Weir's performance as the vampire ballerina for being riveting and funny. [Read](https://www.latimes.com/entertainment-arts/movies/story/2024-04-16/abigail-review-horror-melissa-barrera-radio-silence-vampire)
- **Total Film** (70/100, inferred): The critic calls it a blood-bomb of fun with satisfyingly volcanic splatter and strong casting, especially Alisha Weir, but notes it needs more narrative meat. They single out the suspenseful mansion sequences and Weir’s sly-to-savage performance for praise while complaining about predictable twists and undernourished story. [Read](https://www.gamesradar.com/abigail-review/)
- **Little White Lies**, Anton Bitel (3/3/3): The critic finds the film smart bloody fun but notes that the trailer has defanged its central twist. It praises the inventive, nasty evil-kid romp with grotesque set pieces and knowing references to prior Radio Silence films. [Read](https://lwlies.com/reviews/abigail)
- **Screen Daily** (60/100, inferred): The critic notes crowd-pleasing energy in the gruesome, slyly funny mix of genres but finds an overly complicated story and underwhelming characters drain some life from the proceedings. It singles out the sight of the child chasing adults as consistently amusing while concluding it has more gore than brains. [Read](https://www.screendaily.com/reviews/abigail-review/5192513.article)
- **Vulture** (60/100, inferred): The critic notes that knowing the premise spoils the reveal but finds the film delivers cheap thrills through hilarious gore and some twisted playfulness, though it lacks depth in characters and suspense. Weir’s balletic savagery is highlighted positively amid the shlock. [Read](https://www.vulture.com/article/movie-review-abigail-is-a-cheap-thrill-vampire-flick.html)
- **IndieWire**, Alison Foreman (40/100, inferred): The review argues that the vampire ballerina film from Radio Silence fails to bite, presenting a blood-sucking saga told as a heist film that lacks sufficient impact or originality. [Read](https://www.indiewire.com/criticism/movies/abigail-review-1234971888/)
- **The Guardian** (35/100, inferred): The critic finds some low-stakes pleasure in the first half of this gory horror-comedy but says the plotting falls apart disastrously in the second half. They single out the strong direction and committed cast for praise amid the excess of blood and lack of substance. [Read](https://www.theguardian.com/film/2024/apr/18/abigail-movie-review-dracula-daughter)
- **Variety**, Owen Gleiberman (30/100, inferred): The critic finds the film a relentlessly excessive and monotonous mashup of genres, criticizing its heavy-handed action and lack of subtlety compared to classic vampire films, though acknowledging some performances. He singles out the over-the-top violence and bickering characters as detracting from engagement. [Read](https://variety.com/2024/film/reviews/abigail-review-1235974342/)
- **The Hollywood Reporter**, Frank Scheck: The critic finds the film wildly entertaining for most of its running time as a breathlessly paced horror-comedy with exuberant gore and black humor, though it becomes overly burdened with baroque narrative flourishes later. Weir’s mesmerizing, frightening, and sardonically funny performance as the pint-sized bloodsucker is singled out for praise. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/abigail-review-dan-stevens-1235875914/)
- **/Film**, BJ Colangelo (10/10): The critic calls it a perfect horror movie and one of the best of 2024, highlighting the pitch-perfect ensemble, humor, twists, blood, action, and transcendent child performance. [Read](https://www.slashfilm.com/1556898/abigail-review-ballerina-vampire-bloodbath-perfect-horror-movie/)
- **Deadline**, Pete Hammond (80/100, inferred): The critic finds Abigail a lot of fun as a cheeky vampire flick blending humor and horror effectively. Directors Radio Silence inject flair into the proceedings with strong performances and a sensational score. [Read](https://deadline.com/2024/04/abigail-review-melissa-barrera-dan-stevens-battle-draculas-child-vampire-flick-1235889187/)
- **Den of Geek**, Rosie Fletcher (4/5): The critic calls it a joyful gorefest and heist horror mashup that improves on Ready or Not, with a twisty plot, ramping shocks and gore, plenty of laughs from the ensemble, and a standout turn from Alisha Weir as the vampire ballerina. A minor complaint is some unnecessary parenting melodrama amid the fun. [Read](https://www.denofgeek.com/movies/abigail-review-explosive-horror-thats-buckets-of-fun/)
- **Polygon**, Austen Goslin (80/100, inferred): The critic enjoys the film's shift into a frenetic horror-comedy with strong humor from most of the cast, effective tension and gore in the mansion setting, and Alisha Weir's standout turn as the vampire, though notes Melissa Barrera's underpowered performance. [Read](https://www.polygon.com/reviews/24133463/abigail-review-horror-comedy-vampires-scream/)
- **The Wrap** (75/100, inferred): The film is a rare horror comedy that is equally frightening and funny, with sharp humor, gory set pieces, and strong ensemble work led by Alisha Weir. It suffers from the twist being spoiled early in marketing, making the first act drag for those who know what's coming. [Read](https://www.thewrap.com/abigail-movie-review-melissa-barrera/)
- **Collider**, Maggie Boccella (65/100, inferred): The critic finds the film at its best in its gory action sequences and the unhinged performances from Dan Stevens and Alisha Weir, but criticizes Melissa Barrera's flat delivery and the predictable, exposition-heavy script. [Read](https://collider.com/abigail-review/)
- **Film Stories**, Simon Brew: The critic found the film tremendous fun after seeing it without prior knowledge of its twists. They praise the committed ensemble cast, especially Alisha Weir, and the directors' handling of the material as an upgrade on their recent Scream films. [Read](https://filmstories.co.uk/reviews/abigail-review-a-bloody-good-film-if-youve-not-seen-the-trailer/)

## Details

- **Director:** Tyler Gillett, Matt Bettinelli-Olpin
- **Director:** Tyler Gillett, Matt Bettinelli-Olpin
- **Screenplay:** Guy Busick, Stephen Shields
- **Story:** Stephen Shields
- **Cinematography:** Aaron Morton
- **Editor:** Michael P. Shawver
- **Music:** Brian Tyler
- **Production design:** Susie Cullen
- **Costume design:** Gwen Jeffares Hourie
- **Producer:** Paul Neinstein, Chad Villella, James Vanderbilt
- **Cast:** Melissa Barrera as Joey; Dan Stevens as Frank; Alisha Weir as Abigail; William Catlett as Rickles; Kathryn Newton as Sammy; Kevin Durand as Peter; Angus Cloud as Dean; Giancarlo Esposito as Lambert
- **Runtime:** 1h 49m
- **Certificate (RO):** 18
- **Release (Romania):** 19 April 2024
- **Genres:** Horror, Thriller, Comedy
- **Budget:** $28 million
- **Box office:** $43 million
- **Trailer:** https://www.youtube.com/watch?v=xtAL2x58hns

## Where to watch in Romania

- HBO Max: streaming
- Amazon Prime Video: rent lei 7.99, uhd
- Amazon Prime Video: buy lei 24.99, hd

*Checked 2026-09-10.*

Also available in: AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, ES, FI, FR, GB, HK, HR, HU, ID, IE, IN, IT, JP, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, TH, TR, US, VN, ZA. Add `?region=XX` to this URL for another country.

## If you liked this

- *Ready or Not* (2019): The same directors, one house, one night, and a shorter, tighter version of this.
- *From Dusk Till Dawn* (1996), Fi1m 75: Criminals on the run walk into a bar that turns out to be full of vampires. — [Fi1m page](https://film.one/film/from-dusk-till-dawn.md)
- *Let the Right One In* (2008), Fi1m 88: A child vampire in the Swedish snow, played quietly and taken seriously. — [Fi1m page](https://film.one/film/let-the-right-one-in.md)
- *Near Dark* (1987), Fi1m 82: Kathryn Bigelow’s vampires drive the American plains and never say the word. — [Fi1m page](https://film.one/film/near-dark.md)
- *Reservoir Dogs* (1992), Fi1m 86: Strangers with fake names, a job gone wrong and one room to argue in. — [Fi1m page](https://film.one/film/reservoir-dogs.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/abigail