From Matt Bettinelli-Olpin and Tyler Gillett (the filmmakers known as Radio Silence), Abigail sautés between a crime thriller and vampire tale. It doesn’t completely land that From Dusk til Dawn style jump off and it overstays its welcome. There are lively breaks in the gory repetition and that’s thanks to some quality casting.

The title character is a young girl (played by Alisha Weir) who we first see practicing her ballet moves in an empty theater. She’s being tailed by six criminals engaged in a snatching plot. They succeed in the abduction, at least theoretically. The mastermind behind the taking (Giancarlo Esposito) provides a creepy old house for them to hold Abigail for 24 hours until the ransom is met. The operation has a strict no real names policy (think Reservoir Dogs), so the group is named after Rat Packers. Melissa Barrera is Joey and she’s tasked with being Abigail’s sole point of contact. We quickly figure out she kidnaps with kindness and is our heroine. She also has a drug problem and might’ve abandoned her son, but she’s rather virtuous compared to the lot.

That includes former detective Frank (Dan Stevens, clearly having a ball and looking a bit like Bradley Cooper), spoiled brat and computer hacker Sammy (Kathryn Newton), and demented getaway driver Dean (Angus Cloud). Low IQ muscleman Peter (Kevin Durand) and Marine Rickles (Will Catlett) complete the sextet.

The young captor doesn’t waste much time engaging in mind games with the unwelcome house guests. In what might have been a juicy twist if the trailer and ads hadn’t clearly spelled it out, she’s a bloodsucker who has been around much longer than her appearance suggests. As if that weren’t enough, she has a father whose name sends chills down the spine of those who hear it.

Abigail should be more of a guilty pleasure than it is. There are times when it flourishes. Stevens steals the show while Barrera is saddled with a semi-serious and boring backstory. Some of the exaggerated violence is reminiscent of Radio Silence’s Ready or Not from 2019. That can be a good thing though it’s a reminder that the pic five years ago was superior. Alisha Weir’s performance is certainly a plus as she switches up the cadence of a preteen and a centuries old devourer of souls.

Despite some clever moves, this ultimately stalls in the third act and takes a while to ramp up in the first place. Its bucket of blood falls on the half empty side a little too often.

**1/2 (out of four)