Abominable

A spoiler light review of Abominable should begin with tone, because Ryan Schifrin understands exactly how this horror film ought to feel. Abominable gains early credibility from Matt McCoy, whose presence is balanced by the different rhythm of Haley Joel. The foundation of Abominable can be stated simply: A man, crippled in a climbing accident, returns to his cabin in the woods as part of his rehabilitation, but he wasn't prepared for the imminent onslaught. Within its 1h 34m running time, Abominable reveals both the benefits and the limits of that disciplined approach.

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What keeps Abominable emotionally readable is Matt McCoy, whose choices establish a consistent point of view. In scenes with Haley Joel, Abominable gains tension from two performers refusing to produce the same kind of energy. Christien Tinsley contributes a separate rhythm to Abominable and helps the supporting material feel less purely functional. The direction by Ryan Schifrin gives the cast of Abominable room to connect the quieter beats with the larger ones.

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Abominable finds additional purpose in its examination of fear, isolation and the moment familiar spaces stop feeling safe. Through the performance of Matt McCoy, Abominable makes that examination feel personal before it becomes broadly symbolic. The idea of the central character repeatedly returns Abominable to the cost behind its more visible developments. Ryan Schifrin is most persuasive when Abominable allows the theme to emerge from an uncomfortable choice rather than polished dialogue.

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The craft of Abominable is defined by patiently built dread, supported by patiently built dread rather than overwhelmed by decoration. Red Circle Productions gives Abominable a production framework in which carefully rationed sound can remain connected to story. Made from a United States production context, Abominable uses setting and design to clarify mood before dialogue has to explain it. The technical finish of Abominable works because image, sound and editing appear to be serving the same immediate purpose.

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Ryan Schifrin gives Abominable a directorial line that is unable to turn workable ingredients into a stable rhythm from its opening promise to its final movement. The staging of Abominable is strongest when Ryan Schifrin allows motivation to determine pace instead of reversing that priority. Viewed as a complete piece, Abominable confirms that the premise retains appeal even when the finished film struggles across most of the running time. A tighter version of Abominable would address how explanation repeatedly takes the place of discovery, yet the surrounding work remains persuasive.

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The plot of Abominable is built around the uneasy relationship between the central character and an important relationship. For Matt McCoy, that relationship gives Abominable an emotional objective stronger than simple forward motion. The screenplay associated with Ryan Schifrin lets a difficult choice reshape the direction of Abominable in stages. Although the treatment of the wider conflict could be sharper, Abominable never entirely loses the thread established at the beginning.

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My final view is that Abominable provides a missed opportunity rather than a complete failure for horror viewers who prefer atmosphere to constant shocks. Matt McCoy supplies the emotional memory of Abominable, while Ryan Schifrin keeps the genre machinery readable. A concern remains because explanation repeatedly takes the place of discovery across part of Abominable, yet the better passages retain their force. What earns Abominable consideration is not perfection but the presence of choices that feel made for this story.