At first glance, Abigail (2024) appears to be yet another stylized horror flick from Radio Silence—the directing duo behind Ready or Not and Scream (2022). But this time, they’ve gone for something wilder, bloodier, and delightfully absurd: a vampire ballet massacre starring a kidnapped ballerina with fangs. Yes, really.
This film doesn’t just walk the line between art house and grindhouse—it pirouettes across it in blood-soaked pointe shoes.
The Premise: Dance or Die
The story kicks off with a group of misfit criminals hired to kidnap a 12-year-old girl named Abigail (played with chilling precision by Alisha Weir), the daughter of a powerful underworld figure. They’re told to keep her in a secluded mansion overnight, unaware that she’s not a helpless child—but an ancient vampire who prefers her meals tap-danced.
“She doesn’t scream. She smiles. That’s how we knew we’d screwed up.”
— Frank, 13 minutes in
Once locked in with her, things unravel quickly. Each character is picked off in increasingly theatrical ways—some via brutal ballet duets, others through waltzes with razor-sharp consequences.
Cast: Camp with Commitment
The ensemble cast is clearly in on the joke—and it works:
Alisha Weir (Abigail): Equal parts creepy and charismatic. Her eerie elegance is mesmerizing.
Dan Stevens: A paranoid ex-cop with a penchant for conspiracy theories.
Kathryn Newton: The sarcastic getaway driver who thinks it’s all “escape room drama.”
Giancarlo Esposito: The mysterious benefactor who knows more than he lets on.
In Color: From deep velvet purples to saturated reds, the mansion is lit like a stage—each death scene choreographed with theatrical lighting. The blood isn’t just gore—it’s part of the performance.
Horror Meets Performance Art
Abigail shines when it embraces its concept fully. Director of Photography Aaron Morton (known for Evil Dead 2013) shoots death sequences like twisted ballet recitals—using slow motion, overhead shots, and immersive audio design.
One highlight is the “Blood Waltz” scene: Abigail pirouettes through a corridor while dodging bullets and silently slashing throats in rhythm with Tchaikovsky.
“It’s Suspiria meets John Wick in a tutu.”
— Slashfilm.com
Tone: Campy, Self-Aware, and Just the Right Amount of Ridiculous
This is not a serious horror film—and that’s its strength. It leans into genre clichés and then flips them:
The “helpless child” trope? Subverted.
The “final girl”? Doesn’t survive.
Vampire lore? Twisted to fit performance metaphors.
Abigail doesn’t feed because she needs to. She feeds because art demands sacrifice.
Music & Sound: A Star in Itself
The soundtrack is a chaotic blend of:
Classical ballet scores
Dark synth
Glitchy remixes of Swan Lake
Every footstep and movement is timed with the beat—turning chases into choreography.
Themes: Art, Exploitation, and Female Power
Beneath the bloodshed lies commentary on:
Art as violence: Abigail’s performances kill, but they’re also beautiful.
Control of young talent: Her backstory reveals a history of exploitation in ballet academies.
Childhood rage: Abigail isn’t just undead—she’s furious.
“They made me dance until my feet bled. So now, I make the world bleed back.”
The Ending: Curtain Closed… or Just Intermission?
The finale finds Abigail seated alone on stage, drenched in blood, taking a slow bow to an invisible audience. Then, the house lights come up… and she’s gone.
A mid-credits scene shows a ballet school reopening—with Abigail’s name on the recital program.
Sequel bait? Absolutely. But it works.
Reception: Midnight Madness Approved
“Horror fans will either roll their eyes or rise to their feet applauding. There is no in-between.”
— Fangoria
“The most fun I’ve had watching murder since Ready or Not.”
— Collider
Fans are already calling it a cult classic in the making, particularly for horror audiences who like their monsters elegant, unapologetic, and covered in glittering gore.
Should You Watch It?
✅ Yes, if:
You love campy horror with style.
You want a truly original vampire movie.
You appreciate high-concept nonsense executed with skill.
⛔ No, if:
You dislike genre mashups.
You prefer grounded, realistic storytelling.
Ballet makes you uncomfortable.
Final Pirouette
Abigail is ridiculous. It’s gory. It’s theatrical. But it’s also a blast. Whether you watch it for the vampire lore, the inventive kills, or just to see a 12-year-old unleash unholy terror in leg warmers—you’re in for a show.
Now Streaming:
Peacock (US), Shudder (International)
