Film Review - Abraham's Boys (2025)

      Abraham’s Boys, 2025.

      Written and Directed by Natasha Kermani.

      Featuring Titus Welliver, Jocelin Donahue, Brady Hepner, Judah Mackey, Aurora Perrineau, Corteon Moore, Jonathan Howard, Larry Cedar, Nick Epper, Paul Wong, and Fayna Sanchez.

      SYNOPSIS:

      Abraham van Helsing relocates with his two sons to the United States in an effort to flee their past.

      Abraham’s Boys, a movie that chronicles the van Helsing family after the demise of Dracula, is inherently captivating. Written and directed by Natasha Kermani, this film is based on a short story by Joe Hill (the son of Stephen King) and arguably would have been better suited as a short film. The narrative lacks sufficient material to justify its 89-minute runtime, which, in theory, should feel brief yet ends up dragging, as the premise is limited while leading toward a conclusion that offers minimal payoff.

      The film's foundation is a slow-burning examination of vampire hunter Abraham van Helsing (Titus Welliver, whose formal demeanor never truly conveys a descent into madness) as he drags Dracula’s obsession, Mina Harker (Jocelin Donahue), along with his sons Max (Brady Hepner) and Rudy (Judah Mackey) to a secluded part of California around 1915, striving to distance themselves from vampirism (a condition described in detail through opening text, as if introducing viewers to vampires for the first time). He resembles a paranoid doomsday prepper, vigilant for vampires and willing to exterminate them at the cost of nurturing his sons.

      Any potential intrigue in exploring Mina’s life after these traumatic events is neglected in favor of depicting her illness. Simultaneously, Abraham begins to instruct his sons about vampires, urging them to prepare for a potential confrontation should they ever come from Transylvania. The dynamics are further strained by Max's antagonism toward Rudy, as he bullies him but eventually softens, becoming more concerned that their father may be losing his sanity. The boys lack depth beyond this conflict, often appearing as mere afterthoughts in a film that is ostensibly about them.

      Abraham’s Boys leans more towards psychological thriller than vampire film, clearly prompting viewers to ponder whether Abraham has any real cause for concern. Other characters also deliberate whether the past events involving those afflicted by vampirism constituted murder, alluding to the possibility (at least within the context of this narrative) that Abraham van Helsing could be misguided. Yet, he demonstrates competence when tending to Elsie’s (Aurora Perrineau) brother after an injury incurred during railroad construction. This idea lends itself well to a horror-infused drama, but in execution, it becomes monotonous, lacking sufficient characterization and narrative substance to warrant a feature-length film.

      What adds to the frustration of Abraham’s Boys is that Natasha Kermani is a skilled filmmaker with a strong command of mood and suspense. Every directorial choice is intentional, from shot composition to dissolve transitions (with some paying homage to iconic scenes). Moving the story from Transylvania to California is an intriguing decision, beautifully showcased through stunning landscape shots; however, it falls victim to the issue of having style without sufficient substance. No filmmaker can surmount the fundamental flaw that some concepts and stories simply aren’t suited for expansion to a 90-minute format. While the ominous atmosphere is appreciated, it fails to serve anything truly terrifying or engaging.

      Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★

      Robert Kojder