A Chilling Tale of Demonic Aftermath: The Possession of Hannah Grace (2018)
Released on November 30, 2018, The Possession of Hannah Grace is a supernatural horror thriller directed by Diederik Van Rooijen and written by Brian Sieve. Starring Shay Mitchell, Kirby Johnson, Grey Damon, and Louis Herthum, this film offers a fresh twist on the possession subgenre by focusing not on the exorcism itself, but on the eerie consequences that unfold afterward. Set almost entirely in the claustrophobic confines of a hospital morgue, the movie blends atmospheric tension with gruesome visuals, though it doesn’t always deliver the scares it promises. Here’s a detailed breakdown of the story for horror fans and curious readers alike.
The Opening: A Failed Exorcism Sets the Stage
The film kicks off with a gripping, albeit brief, prologue. We’re thrust into a dimly lit room where two priests are desperately attempting to exorcise a young woman named Hannah Grace (Kirby Johnson). Strapped to a bed, Hannah’s body contorts unnaturally as the demon within her takes control, her hazel eyes shifting to an unsettling blue—a mark of possession. Her father, Grainger (Louis Herthum), watches in anguish, pleading with her to fight the evil force. But the ritual spirals out of control: one priest is hurled against a wall and impaled, while the other begins to choke under the demon’s power. In a heartbreaking act of desperation, Grainger smothers Hannah with a pillow, ending her life to stop the torment. As he weeps over her lifeless body, a fly lands on her hand, and it twitches ominously—an early hint that death isn’t the end for Hannah.
Three Months Later: Megan Reed’s New Beginning
Fast forward three months to Boston, where we meet Megan Reed (Shay Mitchell), a former police officer grappling with PTSD and addiction. After failing to save her partner during a violent encounter—paralyzed by fear when she couldn’t pull the trigger—Megan’s life unraveled, leading to rehab and a struggle to stay sober. Thanks to her friend and AA sponsor, Lisa (Stana Katic), she lands a job as an intake assistant on the graveyard shift at Boston Metro Hospital’s morgue. It’s a fresh start, or so she hopes, in a stark, brutalist building that sets an eerie tone from the outset.
Megan’s job is straightforward: photograph, fingerprint, and log incoming cadavers. But her second shift takes a dark turn when a disfigured corpse arrives, delivered by EMT Randy (Nick Thune). The body belongs to Hannah Grace, whose mutilated state raises questions. Randy mentions that she was stabbed to death by a man caught trying to burn her remains in an alley—an odd detail Megan files away. As she begins processing the body, strange things start happening: her camera malfunctions, lights flicker, and she swears she sees Hannah’s chest rise as if breathing. Dismissing it as nerves or a trick of the mind, Megan presses on, but the morgue’s isolation amplifies her unease.
The Unquiet Dead: Hannah’s Resurrection
The night grows weirder when a frantic Grainger breaks into the morgue, demanding access to Hannah’s body. Megan refuses, alerting security guards Ernie (Maximillian McNamara) and Dave (Jacob Ming-Trent), who escort him out. But Grainger’s desperation lingers in her mind. Alone again, Megan notices more disturbing signs: Hannah’s wounds seem to be healing, and blood appears where there was none before. Then the real horror begins. Dave vanishes after investigating a noise near Hannah’s drawer, only to be found dead, his body grotesquely broken by an unseen force. Ernie meets a similar fate later, his throat slit by the reanimated Hannah, who’s now stalking the morgue’s corridors with unnatural agility.
Megan’s ex-boyfriend Andrew (Grey Damon), a fellow cop, arrives to check on her after their earlier argument about missing Xanax. Together, they uncover the truth: Hannah’s death didn’t kill the demon inside her. Grainger, who sneaks back in, reveals that after the failed exorcism, he buried Hannah, but the entity persisted, using her corpse as a vessel. With each kill, Hannah’s body regenerates, growing stronger. The trio decides to destroy her by cremation, but the plan goes awry. Hannah awakens, incinerating Grainger and pursuing Megan and Andrew. In a tense showdown, Megan shoots Hannah multiple times with Andrew’s gun—redeeming her past failure—and drags her to the incinerator. Despite Hannah’s pleas, Megan burns her, seemingly ending the nightmare.
The Ambiguous Ending: A New Vessel?
Weeks later, Megan is 62 days sober, jogging and reclaiming her life. But the final scene casts a shadow over her recovery. As she steps out of the shower, a fly buzzes onto her mirror—a recurring symbol tied to Hannah’s possession. When she looks at her reflection, a fleeting glimpse of a blue iris flickers in her eye, mirroring the demon’s mark. The film ends on this chilling note, leaving viewers to wonder: Did Megan destroy the demon, or has it found a new host in her vulnerable psyche?
Themes and Takeaways
The Possession of Hannah Grace explores themes of trauma, redemption, and the lingering effects of evil. Megan’s journey parallels Hannah’s in subtle ways—both battle inner demons, literal and figurative, shaped by depression and despair. The morgue setting amplifies the isolation and dread, though the film leans heavily on jump scares and gore rather than psychological horror. While Shay Mitchell delivers a grounded performance as Megan, and Kirby Johnson’s contortionist skills make Hannah visually striking, the script doesn’t fully capitalize on its promising premise, leaving some viewers wanting more depth.
Final Thoughts for Horror Fans
Clocking in at a tight 86 minutes, The Possession of Hannah Grace is a decent, if predictable, addition to the possession genre. It’s not as terrifying as classics like The Exorcist or as innovative as The Autopsy of Jane Doe (a clear influence), but it offers a creepy atmosphere and a unique angle on demonic aftermath. Perfect for a late-night watch when you’re in the mood for something spooky but not soul-shaking, this film is a solid B-movie effort that hints at what could have been with a bit more ambition.
