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Spoiler warning.
Sony Screen Gems » The possession of Hannah Grace tries to give life to the exhausted subgenus exorcism / possession, but ends up becoming stiff as a corpse.
Diederik Van Rooijen directs this horror film rated R in which a woman (played by Shay Mitchell) goes to the cemetery in a city hospital morgue. Working alone in the basement of the hospital, she examines recently deceased bodies, including Hanna Grace, a severely maimed girl. As the public learns at the beginning of the film, she was possessed and eventually murdered by her father. In a new round, the story takes place after Exorcism and death of the main character.
The problem with The possession of Hannah Grace is not the concept, but the execution of Van Rooijen, who opens the film with one of the most awkward exorcisms ever filmed. From a camera offensively unintelligible to the decision to stay on stage for too long during endurance tests, the film is mounted like an unidentifiable corpse that has been reconstituted and presented in a coffin to a mortified crowd. The technical problems of the film do not stop there: it is a muddy cinematography, a scenic scenography and an embarrassing synthesis image in the final.
The only good thing is the performance of Shay Mitchell and the interesting centerpiece of the corpse, which ends up waving around the morgue as a cartoon character for the majority of the film. We have too much of Hanna Grace, which is just about anything but scary as she uses her demon powers to lift people in the air and crush / break them slowly. During these scenes, Van Rooijen shakes the camera so violently that it is a distraction from all that is really cool. (It's so bad that I wonder how nobody ever looked at the dailies and forced him to take it back.)
Although the story presents a new conception of old concepts, too much information is shared in the opening sequence, which makes the movie empty of any real mystery or suspense. This film was dead on arrival. If something, The possession of Hannah Grace does one thing – it does not end with a fucking wink at a sequel.
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