"Abraham Boys" is a missed opportunity .

“Abraham’s Boys” boasts a compelling horror pedigree. Adapted from a short story by Joe Hill and expanded into a feature-length film by director Natasha Kermani (who is also a producer), the movie takes its 22-page foundation and stretches it across 89 minutes of brooding existential dread. The outcome is a somber exploration of familial fear, inherited trauma, and the enduring shadow of “Bram Stoker’s Dracula”.

Kermani’s script reframes “Abraham’s Boys” as a quasi-sequel: 18 years after Professor Abraham Van Helsing (Titus Welliver) defeated Dracula, he has relocated his family to the rural prairies of California. There, he and his wife, Mina (Jocelin Donahue), raise their two young sons, Max (Brady Hepner) and Rudy (Judah Mackey). Welcome to “Van Helsing: Life After Dracula,” where the old vampire hunter teaches Max and Rudy to swing stakes and sling holy water like other dads toss around baseballs. His basement laboratory resembles a chaotic machine of grudges rather than a conventional scientific workspace.

The film’s most significant strength is its striking visual style, thanks to cinematographer Julia Swain, who embraces the creative limitations of a 4:3 aspect ratio. This choice gives the world of “Abraham’s Boys” an eerie, faded quality that mirrors the quiet terror of living in fear. However, this aesthetic feels more decorative than narratively substantial, and the framing doesn’t imbue the film with the depth one might expect from such a committed visual approach.

The heart of the film lies in the family dynamics within the Van Helsing household. Mina’s soft, animalistic dread contrasts with Max’s logical mistrust and Rudy’s twitchy curiosity. Though the film showcases beautiful family dynamics, its rushed pace diminishes the tension. The first half-hour drags on through dreamlike sequences, meaningful glances, and muted colors, rather than propelling the narrative forward.

The performances vary, with much of the acting leaning toward the theatrical. Donahue and Welliver, both experienced in roles as vampire hunters, deliver acceptable performances, but their chemistry sometimes feels shallow, serving merely as embellishment to a more ambitious concept.

Aurora Perrineau stands out as a real revelation, which makes it frustrating that the film doesn’t rely more on her talent. Jonathan Howard’s brief appearance as Arthur Holmwood serves as a reminder of the impact of a confident accent.

However, when “Abraham's Boys” finally commits to advancing the story, it finds its rhythm. The practical effects occasionally deliver surprising revelations, and once the final act begins, the film taps into some of the eerie, uncanny rhythms that characterize Hill’s original short story.

Nevertheless, the meandering 89 minutes do a disservice to both a psychological thriller and a supernatural examination of past sins. “Abraham’s Boys” is handsomely photographed, at times gripping, but often sluggish, making it a curiously intriguing disappointment.

Final Grade: C-

“Abraham's Boys” is available to stream on SHUDDER.