The year kicks off predictably with yet another Thai ghost film, this time under the production of Golden A Entertainment. The debut directorial effort of Pon Waranyu, who was assistant director in Bang Rajan 2 and Sam Chook, stars Paula Taylor, returning to the screen after a long absence, along with 9-year-old Wanisa Nuchanon. Almost needless to say, the film is not the brightest start for Thai films in 2014.

The film begins in a brutal fashion with a grocery shop robbery in which the shop-owner is killed in front of her daughter, Mobile (Wanisa). Right after the mother’s slaying, her ghost comes to protect her baby girl and ruthlessly wreak revenge on the robber. Little Mobile is then sent to a social service home and never speaks a word thereafter. 

At the same time, Emmy (Paula Taylor) is drugged by her boyfriend and taken to get an abortion at an illegal clinic. In a shattered condition, Emmy manages to find her way home. Meanwhile at the orphanage, the over-protective ghost mother springs to action again, terrifying two bullying children, killing a mean caretaker lady who tries to slap her daughter and causing great distress throughout the place. Then Emmy, after gradually picking herself up from her deep sorrow at losing her baby, visits a friend who happens to be one of the caretakers at the home. Here, she encounters Mobile and decides to adopt her. Of course, they’re joined by the overprotective mother ghost, which means that whoever looks to do them harm is in for a rough ride. 

The film mistakes gore for genuine scariness, and follows the stereotypical ghost film path to a tee. Thus, there’s the relentless use of slow camera sweeping, which is so overplayed that the film becomes a guessing game of whether we will see the ghost this time around or the next. While this aspect is mechanical to a fault, the storyline is hampered by a loose focus and trivial subplots. Naturally, there are plenty of insignificant characters whose only reason for being is to be haunted out of existence while making some painfully out-of-place joke. 

Add in parts of the plot adapted only to serve product placement and Paula Taylor’s persuasive acting is completely wasted. Rarng might—just might—work as a good campaign against illegal abortion, but there’s absolutely no looking beyond the ad tie-ins and sponsored plot setup.