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Streak is a young woman looking to get her life back on track following some bad business in her immediate past. She accepts a graveyard shift security job at a one-time upper class apartment complex which now sits abandoned. She’s desperate because this is basically her last shot before the state takes her daughter away. That desperation mixed with some psychological issues and the possible presence of something supernatural hanging around the structure has everything on shaky ground. Her new partner, Cooper, monitors the screens and is a bit cold to her but it’s Jason Patric so he’ll either warm up to her or end up being the villain. It’s her first night on the job and her coworker is a mixture of creepy and prick-ish. Stalling her in an elevator draped in darkness. she hears whispers and gets freaked the fuck out, much to Jason Patric’s pleasure. She walks the vast building, taking in the grand place and being impressed by just how magnificent it is. She discovers that a section of the building labeled on the map does not have a working security camera. Cooper assures her section 441 was never finished and it doesn’t matter. She presses the matter and he sends her to check it out since she won’t shut up. A locked door is there to greet her and some loud bangs behind the door tickle her curiosity. Streak believes there is something there, Cooper would prefer it all be ignored like their bosses have advised them to do. Everyone’s favorite cranky uncle with an exploding wheelchair, Mark Margolis, shows up as a homeless man trying to find a warm place to wait out a bad storm. Streak doesn’t listen to Cooper’s order of keeping him out and lets the man in to spend the night. She finds a hammer with the man’s stuff and uses it to bust open the padlock on the mysterious door in 441 while Cooper gets drunk on whatever he keeps in his trusty flask. Streak does not find an empty room waiting for her but a tunnel that stretches on into what looks like a catacomb. She walks in, curious as to what she’s just discovered. At this time, the homeless man takes some pills and decides those creepy-ass tunnels are the best spot to walk his dog. Streak finds the remnants of what looks to be an old shelter facility and she also sees a ratty little girl who vanishes almost as soon as she appears. That would go along with the spooky kid’s drawing she finds. I mean, in context they’re spooky because a long-abandoned basement shelter covered in children’s drawings is not something I would want to come across. Especially because Streak thinks there is somebody living down there and those whispers keep up. Streak manages to catch her breath when she oddly realizes she knows where she is but she completely loses her composure when a mutated kid pops up in her line of vision. Cooper thinks the bum was just messing with her and soon he and Streak are scouring the cameras looking for him. What we know and they don’t, is that it’s a fruitless endeavor because our dude just got himself perished by whatever ghastly thing is dwelling in the downstairs area. Streak does a little web-sleuthing and locates a news report about the institute for deformed and mentally disturbed children the place used to be. Guess what. It was a hell hole and the basement section was noted for being particularly vile. Cooper finds her pills and starts thinking his new partner may be a little crazy. So when she tries to warn him they need to shut that door (*cough* that she opened *cough*) he thinks she’s just delusional. He even handcuffs her to their desk when he goes down to close the door. Yeah. It’s too late. The ghosts are out, Streak’s past is the key and this night is about to turn into one of the worst first shifts in employee history. A minimal cast allows for room to breathe and thankfully everyone gives it their best. The damn thing would have been sunk without the level of talent in what basically equates to a two-person show. The supernatural threat is well-realized and smartly stays just out of focus for the majority of the runtime. It gets a little silly as it races to the finish line which I’m usually fine with but it put in such an effort to keep things on as solid of ground as it could during the build up that I couldn’t help but be a little let down when the ghost kid shows up for the corny exposition/flashback party and the ultimate cop out ending. Still, if you’re reading this, I’m 99% sure you’ve suffered through far worse things than twenty minutes of eye-rolling.
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