The Possession of Hannah Grace (2018)

What makes The Possession of Hannah Grace pop isn’t a new mythology so much as a brilliantly claustrophobic idea: take demon-possession horror and trap it under fluorescent lights, in the cold, humming quiet of a hospital morgue where every shadow feels clinically wrong. Director Diederik Van Rooijen wrings real tension out of that setting, letting dread build in the pauses between beeps and footsteps, while Shay Mitchell gives the night-shift heroine a bruised, human edge that makes the fear land harder. And when the movie decides to go for it, Kirby Johnson’s unnerving physical performance turns the body-horror imagery into something you’ll remember long after the credits. It’s not for the squeamish—there’s nasty gore and plenty of jump scares—but if you want a tight, moody, late-night fright with a strong sense of place, this one delivers.

The Possession of Hannah Grace is clearly aiming for a tight, contained “one-night-in-a-morgue” demon thriller, mixing addiction trauma with possession horror and a steady drip of dread. The problem is it leans hard on familiar exorcism beats and loud jump scares, and the murky, dimly lit visuals can make the tension feel more like waiting around than escalating terror. If you’re hoping for fresh mythology, clever twists, or genuinely inventive scares, this will likely feel like a reheated genre playlist. That said, Shay Mitchell commits to the role and the morgue setting delivers some grim, nasty imagery, so if you just want a straightforward, gory late-night scare in a contained location, it may do the job.