Perhaps the most terrifying thing about The Quiet Ones is how blatantly the Hammer horror film rips off other, better features – in fact, for long stretches during its muddled and flat middle act, it’s nearly impossible to not wish that you were watching The Conjuring, a recent outing that does everything that The Quiet Ones wants to do with all the style and flair lacking from the latter production – with little regard for possible repercussions. That kind of recklessness is chilling on its own, that lack of care and originality, the kind that will likely be ripped to shreds by plenty of audience members and critics alike. The Quiet Ones just isn’t original, at least, it’s not original until it tries to be (really tries!) far too late in the feature, when it suddenly slaps on a series of revelations that sound cool and weird and scary in theory, but make zero sense in practice. The John Pogue feature actually does have a creepy and interesting premise to drive it – as long as you don’t immediately exit the theater once you see the words “inspired by actual events” pop up on the big screen – but that material is ultimately abandoned in service to a story that attempts to scan as chilling and twisted and shocking, but only comes across as derivative and dumb.