Quick, dirty and mostly scare- free

the young woman who gives the film its title and serves as its driving narrative force.

Anyway, Megan tries to run through all the steps she’s just learned as far as photographing and fingerprinting the body before placing it in storage, but Hannah Grace’s overwhelming evil — even in cold corpse form — throws everything out of whack. In no time, she’s sneaking out of her drawer when no one’s looking and wreaking havoc on the few employees who have the misfortune of being on duty during the graveyard shift. This central premise is the only compelling element of Sieve’s script, but it’s executed in dreary fashion.

Part of the problem is that the rules are unclear. Sometimes Hannah Grace crawls in a crablike way, her mangled and bony body making a crackcrackcrack noise with every jumpy movement. ( The sound design is indeed creepy the first time around with all these auditory tricks, but quickly grows repetitive.) Sometimes, she walks upright. Sometimes, she leaps forward or skitters up a wall. She can interfere with cell phone signals and power lines and move entire ambulances with just a slight shove but wastes her time hanging around the hospital — and waits to inflict her wrath on Megan until the end.

We’d have no movie otherwise — and as is, Hannah Grace is barely 88 minutes, with an ending so abrupt that you’ll wonder whether you’ve missed something. ( Spoiler alert: you haven’t.) But maybe we’d actually be able to see what’s going on in the outside world.

By arrangement with Asia Features