Abomination (2023) Review

Abomination is the third of writer/director Savvas D. Michael’s films I’ve reviewed here and it’s a definite change of pace for him. The Bezonians and Hitmen were both crime films with darkly funny undertones, this time out though the genre has shifted to horror and the comedy is not only much darker, it’s been brought to the front.

The opening is certainly bizarre enough with a man, we’ll later learn he’s called Adam (Jack Parr, One Shot, Wolves of War), wearing what looks like a set of NFL shoulder pads made out of flesh and acting like a pro wrestler. He’s chasing someone through a seaside ghost ride and when he catches them he naturally enough chows down on them.

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From here we travel back five years to the laboratory of Archimedes The Alchemist (Tom Arnold, Ape vs. Mecha Ape, True Lies) complete with beakers of smoking chemicals, babies and body parts hanging on hooks and a soundtrack that sounds like The Omen’s on speed  He brings the nude Adam to life and gives flips God off, only to have Adam knock him down and run off. After a couple of quick kills, including a guy partying with three hookers, the film comes back to the present where Adam still seems to be hungry.

Much of this is actually more strange and amusing than actually funny, relying on visual cues and very little dialogue until after Abomination’s plot returns to the present. Then, after Adam has struck yet again, Sergeant Popeye (Mike Mousicos, Original Gangster, The Phantom Warrior) and Constable Romeo (Kem Hassan, Once Upon a Time in London, Listen) try to question the only witness, Mike (Elijah Rowen, Alice, Through the Looking, Curfew).

Unfortunately, his friends Antigone (Nicole Bartlett, Us or Them, 400 Bullets) and Elizabeth (Lois Brabin-Platt, Bull, Red Devil) are constant distractions. Liz announces “All cops are batards” and generally goes off on everyone while Antigone flirts with Romeo. After all of this, Mike decides he’s going to find his friend’s murderer and kill him “like a hero”.

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This is when Abomination starts to resemble the director’s other films, as a diverse group of eccentric characters are pulled together under circumstances that are anything but normal. That includes the trio of dominatrixes who accidentally killed Adam during a BDSM session and sold his body to Archimedes, the street fighter Hercules (Vas Blackwood, Creep, Fanged Up) who lost an eye to Adam in a fight complete with video game graphics and music, as well as the Russian mobster Anastasia (Ivana Radjenovic, Unskin, Hitman’s Wife’s Bodyguard).

The result is a chaotic and often times quite funny bit of monster hunting. At times it got a bit too silly and threatened to lose me, but for the most part, I found myself chuckling much of the time. It does look like it might get serious toward the end but that gives way to an appropriately dark humoured ending.

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One thing that did surprise me about Abomination is, that while there are some bloody kills and flesh eating scenes they stayed pretty restrained. I was expecting Savas to lean more towards splatstick to match the film’s at times almost farcical tone. The gore we do get is well enough done but it stays fairly restrained apart from Hercules’s eye.

Overall though Abomination is an agreeably daft film that manages to send up mad scientists and their creations quite nicely. It’s not quite the Scooby Doo Meets Frankenstein film that the email that came with the screener called it, but it is worth watching. Speaking of worth watching, there’s a mid-credits scene that you’ll want to stick around for as well.

Abomination is available on Digital Platforms in the US via Screen Media. You can check the Saints and Savages Facebook page for announcements of releases elsewhere.

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