Black Swan but with slightly less agony.
Horror hasn’t been a primary go-to genre for me as I’ve aged, but I’ll check out a given work in just about any genre if it can sink a hook into the elusive target that is my set of aesthetic peculiarities. (And by “hook” I do not mean I award imaginary brownie points for use of the empty “elevated horror” label.) In the wake of the Hollywood-wide restart after last year’s dual WGA and SAG-AFTRA strikes, some 7,000 new, quick-bake horror flicks will be coming to theaters over the next several months as studios catch up on their precious blockbuster assembly-line schedules. Amid the flood of recent blood-soaked trailers — from high-concept to lowbrow to “the plot is a spoiler!” — one pitch spoke to me from the fray: “From the directors of the last two Scream movies!”
If the preceding sentences sound familiar, it’s because they’re largely lifted from my previous write-up of Late Night with the Devil. If horror flicks have taught me anything, it’s that recycling is cool. Sometimes old parts can be reused in a new contraption without collapsing. Sometimes the contraption is pretty nifty, like folding a newspaper into a sailboat, or making an omelet with leftover taco filling, or lifting the one-line concept from an old Universal monster movie but throwing away the rest of the movie because no one remembers it anyway.
Hence, directors Matt Bellinelli-Olpin and Tyler Gillett (d/b/a the team “Radio Silence”) present Abigail. The 1936 work that inspired it is a spoiler. Its entire trailer is a spoiler. Fortunately it doesn’t spoil the whole runtime, as more twists abound and a crack ensemble makes up the difference in their performances whenever the writing withholds too much.
Midlife Crisis Crossover! 