Already upon arriving the couple faces racism from their neighbors, who are less than happy to have refugees living nearby. Their case worker is the one British person they speak in depth with, portrayed by Matt Smith, but it becomes clear that he isn’t a saint when he tells them he hopes they’re the good ones, stereotyping the refugees he works with and approaching the couple as if they’re beneath him. The system that has been set up makes it so that he does lord power over them and Bol jumps fully into assimilation. On the other hand Rial is resistant to leaving behind who they are to follow this new path that is way more uncertain.

An entire psychological horror movie could follow just Rial and Bol’s experiences in England and interactions with the people there. Like most Western countries the clean and “polite” veneer covers a decaying root that is spreading and rotting the whole thing slowly. The racism is permeated through the system they go through all the way through the opportunities available to them once they are given citizenship on leashed terms. They’ve done nothing in life to suggest they are more or less safe than any other person and in fact have gone through a review process that domestic citizens typically don’t face, further ensuring that immigrants attempting proper channels are more vetted than the average citizen.

Unfortunately for the couple they are also in the midst of a haunting in their home, seeing their dead daughter and a man coming from the walls. Rial gets to the bottom of things and believes they are haunted by a witch who has followed them because they owe her a debt in order to have their daughter back. They don’t know what the debt is however and Bol interprets it as ridding themselves of everything they brought from Sudan, burning it all. This doesn’t solve their problems however but it does drive them apart, Bol finally getting upset enough to go to Mark and request a different place, claiming theirs has rats.

Mark doesn’t believe him or care about his cause and instead Bol rips the home apart trying to find the witch, or apeth, but just gives Mark reason to threaten their status. Rial wants to go back home to Sudan but Bol is upset by this and traps her inside their house, summoning the apeth to talk to it directly. When he does it tells him that he owes the debt of a life and it offers him to trade his own life to give his daughter life again but he refuses this deal. After he refuses he’s trapped in a comatose state while Rial escapes the house in his subdued state.

Instead of being outside of their house in Sudan though, Rial enters a classroom from home where she meets old friends. Rial’s friends and her are attacked and become victims in a massacre that she survives because she’s able to find a place to hide. Bol is able to get to her and the couple escape the area as things escalate and become more dangerous. When they get to the bus to leave though they find out only people with children are being allowed to leave so Bol decides to abduct a child, who is revealed to be Nyagak, the child that has been portrayed as their daughter.

The couple claims that Nyagak is their daughter and are allowed onto the bus because of this, leaving her actual mother behind in the war torn South Sudan. Gunfire breaks out and implies that no one left in their area survived the massacre, including Nyagak’s mother. When the three are making their way across the channel Nyagak falls into the water along with others, the journey dangerous and unsafe. Neither Rial nor Bol is able to rescue her and she drowns, and once confronted with the truth of their past Bol gives in and agrees to pay the debt with his life so that Rial can live.

Beginning to accept the witch into him as one, sacrificing himself for Rial, Nyagak enters, having returned. Rial can’t let Bol go though, and saves him by slitting the apeth’s throat and giving up having Nyagak back and absolving those sins. The couple both live and cut to Mark doing an inspection of the house, finding it repaired and cute with Rial and Bol both affirming they intend to make it their home. They tell him the truth that Rial was able to kill the apeth who had been haunting them but Mark doesn’t take them seriously, brushing it off as some sort of cultural humor he doesn’t understand or care to understand. Bol informs Mark that the couple is choosing to live alongside their ghosts from home, even Nyagak, together.

Once Caroline has taken the job she drives her red VW bug into the swamps down a tree lined street with Spanish moss adorning the old branches overhead, quintessential Antebellum imagery. Rather than tell her about the house or the property’s history up front Violet only alludes to things being amiss and brushes off Caroline’s questioning about some of her odder habits like stowing away every mirror in the house. Prior to moving into the Devereaux home however Caroline lives with her friend, Jill, in the French Quarter of New Orleans, where she’s moved to from Hoboken, New Jersey following her dad’s death. Jill, portrayed by Joy Bryant, mentions that Caroline’s father would be proud of her striving to help people, particularly the elderly, when she decides to take the position but Jill is also a touchstone to local knowledge for Caroline and thus the audience. When she hears of the location she is immediately taken aback, making sure to note the swamp context of the area.

After giving a tour and her responsibilities Violet gives Caroline a skeleton key to the house, harkening back to the title of the film, but she quickly discovers through snooping around in the attic that the key doesn’t open a door hidden behind bookshelves. Her attention is drawn to it when it starts rattling after Violet sends her up there to fetch a type of seed for her garden but ultimately she leaves the door closed but mentions it to Violet. Violet is visibly disturbed by Caroline’s questioning and seems hesitant to provide answers, making it seem that whatever the secret is must be rather juicy which peaks Caroline’s fascination even more. Having found a sheet one night with “help me” written in mud on it after she finds Ben on the roof in the rain just before he jumps off of it she tries to ring the alarm bells to Luke. He’s rather dismissive and makes his stance rather clear that he believes Violet has a right to do what she thinks is best when it comes to her husband, even if Caroline disagrees.

Not deterred in the slightest Caroline decides to investigate the attic herself and she decides to use a bobby pin to try and pick the attic door lock. Having been told by Violet that she and Ben had never opened the door since they purchased the home, she's a bit shocked to pull out a piece of key that perfectly matches a piece of the skeleton key she has. After she removes this bit she reenters her own key that has the piece still intact and is able to unlock it, releasing a gust of dust and must from the closed space. She finds all kinds of witchcraft like materials and old dolls around the attic along with jars of what appears to be dead creatures or organs plus a box of old records. They look custom recorded and one sleeve catches her eye for the symbol on it and she decides to take this one. She narrowly escapes without getting caught with the record and goes to listen to it back at her New Orleans apartment.

The record says it's made by Papa Justify portrayed by Ronald McCall, and is the recording of a sacrifice ritual which Caroline loads up and begins listening to. She is entranced but spooked by the sacrifice ritual she’s listening to on the record and is only snapped out of it by Jill. Out that night Jill again provides local knowledge and tells Caroline what hoodoo is and where she can find a practitioner, Jill’s family member. Despite her knowledge however she wants nothing to do with the mystic and warns Caroline to leave it alone also. After the attic incident Violet opens up to Caroline about the property’s history and former residents which sheds some light on what Caroline found in the attic. She makes a point to say throughout her tale that it’s just a retelling and that she was never told the story from the brother and sister they purchased the home from in 1962. Violet explains that in the early 1900’s a wealthy family lived on the property with their 2 young children and 2 servants, Papa Justify and Mama Cecile, portrayed by Jeryl Prescott. One night they throw a party and when they can’t find the children the drunk party guests search the estate for them but discover them in the attic with both Justify and Cecile.

When the party guests open the attic door the kids are in the center of a candle ring, the room clearly set up for some sort of ritual and the both servants are convulsing in a trance state. The guests instantly become an angry mob and drag Justify and Cecile out to the yard and lynch them in one of the trees. They light both on fire and the incident is known in the area for the cruelty of the people who lynched the servants. The children went on to then sell the house to the couple in 1962, Violet and Ben, after their family’s bank had fallen on hard times and then died shortly after while in care homes. She explains that she and Ben just left the room as is and have respect for the ghosts of Justify and Cecile that they say roam the property and are still the owners of that room. She tells Caroline the reason for the mirrors being stowed is that you can see the ghosts moving around in them.

Caroline decides that despite not believing in hoodoo herself there might be some benefit to the mind-body connection and Ben believing that ghosts have cast a spell on him could mean that the solution to his ailment is spell work he believes in. After he has a convulsion attack when she shows him a mirror she is convinced that if she can complete a protection ritual on him he won’t be in a comatose state and can tell people what Violet is doing to him, thus saving him. When she does complete the ritual he’s able to speak and tells her to help him and get him out of there so she goes to talk to Luke about the situation. She hopes he’ll have more information or back her up but instead he seems hesitant to get involved past being their estate attorney and answering Caroline’s questions. It is revealed when she finally goes to him with what she feels is proof and Ben hidden in the garden shed to keep him away from Violet that Luke is actually Papa Justify.

Caroline sees beginner law books at his apartment right before finding the same ring that was Justify’s in his desk drawer. He confirms her fears when he chokes her out and takes her back to the property to finish whatever he and Violet have planned. Caroline still doesn’t get it when she goes back to the house and ends up walking directly into the trap they’ve set for her despite Violet having fallen down the stairs and being severely injured. Caroline performs a spell that Violet slipped to her that she believes will protect her but what it actually does is trap her in the center of the attic where they intend to perform the sacrifice. She realizes far too late that she is the sacrifice and not Ben like she’d been so worried about and Violet informs her that everything is only possible because she believes in the magic now and that they’ve been working to get her to that place so that it would work.

Violet successfully steals Caroline’s body and it’s revealed that Violet is actually Mama Cecile and that both her and Justify are just stealing the next set of bodies in their line. Both of them had switched places with the children who were the ones actually lynched and burned by their family. Having survived as the siblings, the couple then took on the lives and identities of Violet and Ben, the couple that purchased the home from them which they’d inherited after the sibling’s parents passed away.

Now that Violet and Ben are aging they have scouted and found people that they can swap places with. Once switched into Caroline’s body Cecile laments she wanted Justify to find her a Black body this time but he notes that Black people don’t stay at the job when things get spooky, calling back to a Black nurse earlier who was shocked Caroline was even still messing with the Devereaux couple based on her experiences with them.

Violet, portrayed by Gena Rowlands, comes across as old-fashioned off-trip, particularly when she’s introduced to Caroline by the couple’s lawyer Luke Marshall portrayed by Peter Sarsgaard. The couple hired Luke around the same time that Ben, portrayed by John Hurt, had a stroke and he is handling their affairs like hiring hospice care, like Caroline. Caroline learns quickly that she’s the 5th person to come through to help the couple, finding it hard to deal with Violet and leaving the position.

She feels a responsibility for Ben that only intensifies as the movie progresses, revealing along the way the strained relationship she had with her father that has upended her life. Her commitment to her deceased father in an attempt to right wrongs she doesn’t commit helps keep her trapped in the boiling pot she’s found herself in, being cooked alive 1 temperature degree at a time until it’s too late. Before this is revealed however the film uses Caroline’s investigation of her weird new employer and their mysterious property coupled with the increasingly bad vibes between her and Violet to make audiences question the plot’s reality similarly to Caroline.

After fighting to stay awake while also being misled by AMC that 25-30 minutes of trailers and advertisements would play before the 7 PM showing, we walked into the theater within the first 5 minutes, the movie already playing to the sparse crowd. Ourselves and three other pairs sat in uncomfortable silence as little happened on screen, neither scares nor decent plot building occurred during the time I spent there. The main character, whose name I didn't really catch and I don't care to look up, didn't fit into the profile of former main characters of the franchise and my brow remained furrowed in confusion as to why we were even following her.

Her roommate seemed half her age and I couldn't discern whether she was meant to be a college student or a young adult at a moment of redesign, neither was made clear during the movie and I felt she wasn't being made relatable enough to be an interesting character. Most of what I saw was her walking around Abbadon, the town where the movie took place and she lived, as one of the 3 clowns from the basement of Hell House followed her. The plot seemed to focus on this clown which also confused me as a fan of the other films who'd anticipated being at Hell House or at least around Hell House rather than following the clown like a slasher focused on said clown.

The main character's therapist broke HIPPA to further the plot and overshared about her other client whom she said was also seeing this clown around town, something she referred to as "Abbadon eyes" but brushed off as a shared delusion. This guy who the main character runs into in the therapist's waiting area after her own session is then followed and the clown, in less than scary fashion, appears in his house and a found footage interlude makes it clear he's been killed by the clown. When I first heard Abbadon's eyes I had to turn away and stop myself from laughing at how absurd and nonsensical the story was playing out.

I felt silly, which isn't something you typically want to feel when watching a horror movie that follows up a quite decent found footage franchise full of scares. I honestly don't care what happened after this and we left around the 3rd standoff between the main character and the clown, appearing to her as a distasteful Halloween direction outside of a random home on her walk around town. I burst out laughing in the lobby after holding in my confused chuckles and ultimately felt like we'd wasted money and time, only thankful that it was a wasted Wednesday rather than a weekend.