Unlike Werther’s, it’s not original. The needle on the scare-o-meter seldom flickers. And when it does, it’s far too fleeting and far from frightening. That said, The Possession of Hannah Grace by Dutch director Diederik van Rooijen is not as lifeless as its working title Cadaver suggests. And due to a combination of factors is undeniably engaging in a popcorn-munching kind of way.

Namely, a short running time of 86 minutes which comes as a blessing after sitting through nigh on half an hour of adverts and trailers which now constitutes Cineworld’s “Feel More” marketing strategy (feel more bored and frustrated, that is); minimal dialogue by screenwriter Barry Sieve; and gloomy lighting and cinematography which forces the viewer to probe the shadows in search of things that go bump in the night.

The premise of which is that ex-cop Megan Reed (Shay Mitchell), who left the force after her partner died because she froze in the line of duty, is offered the job of overnight intake assistant at a Boston morgue on account of her being “totally used to bad smells”.

Given that she believes “when you die you die, end of story,” the graveyard shift of scanning corpses and entering data on her lonesome ownsome holds no fear. So far, so-so. But that all changes when the possessed body of the titular Hannah fails to live up to its surname Grace and starts piling up stiffs on the mortuary slab.

A development which races the pulse of the anxiety-plagued Megan, if not the audience who will nonetheless take satisfaction from the creepy feel and finale. A satisfaction which like that of a Werther’s Original is quiet but forgettable.

Director: Diederik Van Rooijen
Writer: Brian Sieve
Stars: Shay Mitchell, Grey Damon, Kirby Johnson

 

 

Peter Callaghan
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