The past literally comes back to haunt new wife and recovering heroin addict Molly (Lodge) in Blair Witch Project co-creator Eduardo Sanchez's harrowing horror.
Opting to move into the house vacated by her late father, Molly and her trucker hubbie Tim (Lewis) figure the free - if decrepit - old pile could be the answer to their prayers. It isn't.
Just months after arriving, doors begin banging in the night and Molly - stuck in the house alone while Tim is on the road - is drawn into the darkest recesses by an almost palpable sense of foreboding.
Returning home, Tim takes the easy option of blaming her frayed state of mind on her historically frail mental condition and - eventually - her slipping back into old drug habits.
Since scaring the living daylights out of audiences with Blair Witch, writer-director Eduardo Sanchez has rather been left behind in the found-footage stakes thanks to the likes of Cloverfield and Paranormal Activity.
Here he returns to the concept (as Molly gets increasingly frazzled she captures it all on a camcorder) with a truly disturbing sequence of events that rely on a rumbling sound design and the occasional big bang to keep audiences teetering on the brink.
There is no let-up as - through flashback - it's revealed that Molly's dad wasn't a very nice man at all while Sanchez keeps returning to bizarre themes (horses and maggot-ridden deer are tipped into the mix) to chip away at your sense of well-being.
We could have probably done without the libidinous preacher and the running time could do with a trim, but this succeeds thanks to Lodge's extraordinary central performance, a terrifyingly mesmerising study of a woman in diabolic torment (a scene where she's captured on CCTV being violated by an unseen force while at work in a shopping mall is truly nerve-shredding).
Good golly, indeed.