It is refreshing to find a possession film distinct from familiar tropes or exorcism standbys, liberated from the stranglehold of Catholic rites and latin chanting. It is reminiscent of the film “Incarnate” in which the majority of battles occur in a mindscape, and issues of religion or faith are irrelevant in the face of will and experience. That said, there is little else in this film that extends beyond familiar scares and patterns, but it delivers them well. The premise intrigues and does very effective worldbuilding to establish the background for the characters, their capabilities and their relationships beyond a small household practice. It feels like this world has already been lived-in and breathing, and could easily be the backdrop for an entire series on a clairvoyant psychiatry practice. This director is better known for more slow-burn psychological horror, and manages to incorporate insight on the nature of trauma and how it shapes us into adulthood, into a far more fast-paced vehicle than his usual fare. While clearly low-budgeted, the film makes excellent use of each penny, crafting disquieting vistas and nightmare sequences more effectively for its reliance on shadows and subterfuge. The creature design is appropriately creepy, and fits neatly into the movie’s depiction of trauma and scars with a blend of the tragic with the horrific, cemented by a haunted performance by Shawn Ashmore who is a standout amongst a decent cast. An additionally refreshing detail is that both the lead characters bear the scars of their trials through to the end, and these aren’t glamorous or unobtrusive, they are relics of horrors the characters will carry to the end of their days. This seems a rather apt visual for the trials the main characters have already endured, which they wear proudly, ready to move forward into their next confrontation, stronger and undaunted. While subject to budget limitations, this film still manages to provide an effective vehicle to deliver an engaging horror film unafraid to dive deeper into more nuanced themes, yet still delivering comparable quality to the excesses of modern Blumhouse fare.