Sony Screen Gems & # 39; The possession of Hannah Grace trying to breathe life into the worn exorcism / possession subgenre, but eventually ends up being as stiff as a body.
Diederik Van Rooijen controls this R nominated horror movie where a woman (played by Shay Mitchell) takes the graveyard shift in a city hospital. Working alone in the basement of the hospital, she checks in recently deceased bodies, one of which is Hanna Grace, a young girl who has been grossly mumble. As the audience learns in the opening of the film, she was obsessed and eventually murdered by her father. In a new spin, the story takes place after exorcism and death to the title character.
The problem with The possession of Hannah Grace is not the concept, but the performance of Van Rooijen, which opens the film with one of the most lumpy exorcisms that are filmed. From terribly incomprehensible camera work to the endurance testing decision to hang on scenes for a long time, the film is edited as an unidentifiable body that is sewn together and presented open coffin to a poor amount of a wake. The technical problems of the movie do not stop there, as it is bothered by muddy cinematography, scene-set design and straighten up embarrassing CGI in the final.
The only bright spot is Shay Mitchell's performance and the interesting centerpiece of the body, which eventually ends up rolling around like a cartoon character for the majority of the movie. We get too much by Hanna Grace, who's something but scary when she uses her demon powers to lift people in the air and slowly crush / crush her legs. During these scenes, Van Rooijen shakes the camera so violently that there is a disturbance from some fun actually. (It's so bad that I wonder how nobody saw dailies and forced him to transform these things.)
While the story presents a new take on old concepts, too much information is shared in the opening sequence, which makes the movie out of mystery or excitement. This movie was dead on arrival. If there is anything, The possession of Hannah Grace do one thing right – it does not end with a blunt look at a sequel.