While Stamboel establishes a sinister tone straightaway, layering in a few moments of terror, things take a turn once Hanif begins to realize that the deer he hit on the drive over might not have been an animal at all. From there, the horror ramps up at a gleefully gnarly and steady clip. The precise type of gruesome, black magic carnage feels akin to retro Hong Kong Category III films, but with a more modern lens. Flesh gets carved, centipedes weave in and out of bodily orifices, and blood paints the neutral beige orphanage red. This vengeful ghost finds sadistic means of comeuppance and isn’t interested in sparing a soul.