Abattoir
The film is a new horror thriller from Darren Lynn Bousman, who gave us SAW II, Saw III and Saw IV, following a reporter as she investigates a haunted house constructed out of dead people's rooms.
26 March 1982, England, UK
1 March 1963, New Orleans, Louisiana, USA
26 July 1966, Tenafly, New Jersey, USA
9 November 1947, Philadelphia, Pennsylvania, USA
28 December 1985, New Orleans, Louisiana, USA
9 October 1958, Brooklyn, New York, USA
7 August 1991, Van Nuys, California, USA
8 November 1988, Vancouver, British Columbia, Canada
1946, Dumbarton, Dunbartonshire, Scotland, UK
December 08, 2016
[I]n the end, the screenplay doesn't equal the sum of its parts and the film is unsatisfying.
December 08, 2016
The inexplicability of "Abattoir" keeps it engaging for a while, but by the time it hits the one-hour mark without anything even remotely exciting happening, even a horror connoisseur's patience will run thin.
December 09, 2016
Ambition is laudable, but sometimes the end result falls short of expectation.
December 06, 2016
Abattoir feels like it should still have an "Under Construction" sign warning viewers of the unfinished business to come.
December 08, 2016
suffers from the whole "first chapter in a franchise no one is asking for" syndrome
December 09, 2016
If you operate under the belief that you can learn as much, maybe even more, from bad movies as you can from good ones, this one is a master class in what not to do.
December 08, 2016
While Bousman's climax is a not terribly original effects-laden haunted house, the house's builder, and his motives, have enough of their own flavor to please a hardened horror fan.
December 08, 2016
There's a reach on the part of Abattoir's makers that exceeds their grasp.
December 16, 2016
Abattoir has some interesting, albeit perhaps unwieldy ideas that never quite congeal into a gripping screamer.
December 06, 2016
Interesting concept, interesting supporting players, dreadful leads.
December 05, 2016
A franchise-aspirational horror opus that takes too long establishing its premise, then peters out in a climactic jumble of scare-free digital effects.
