Mak (Siwat Chotchaicharin) has been haunted by nightmares featuring a spectral female figure. He is about to marry his childhood sweetheart Nak (Pataratida Pacharawirapong) and they have just been sold a one hundred year old house by shifty Mr. Angel (Meesak Nakarat) and after the wedding all of their gifts are stolen (including a brooch made from bone that Mak purchased for Nak). When Mak recognizes some thieves selling the gifts, he takes after them on foot and is knocked down by their car and left in a coma. The doctors do now know if or when he will come out of it but Nak swears Mak talked to her, instructing her to "Fine Mae Nak." Nak learns the legend of Mae Nak (Porntip Papanai), a woman who married Por Mak (Jaran Ngamdee) only for them to be separated by war. When he returned, he found Mae Nak had given birth to a child but their happiness is spoiled when he learns from the villagers that Mae Nak died in childbirth. Mae Nak's ghost took revenge on the villagers who tried to keep her spirit away from Por Mak so a monk exorcised her by cutting a fragment of bone out of her skull and trapping her spirit inside it which he made into a brooch (she also learns that they are living in Mae Nak's house). Nak finds the brooch and tries to discover how to use it to put Mae Nak to rest. Meanwhile, attempts by surgeons and exorcists to cure Mak are disrupted by psychic outbursts and Mak learns that she must find Mae Nak's grave before she loses Mak to the ghost (who is once again taking out anyone who gets in her way in various gory manners). Like Paul Spurrier's P, GHOST OF MAE NAK (reportedly the twentieth film adaptation of the legend) is another Thai production by a British writer/director/cinematographer but it is unfortunately nowhere near as accomplished as that production. Slick-looking with some satisfying gore (and variable CGI), GHOST OF MAE NAK suffers from a faulty script (derivative of everything from THE OMEN, THE EXORCIST, THE CHANGELING, etc) full of banal dialogue that is blandly delivered by attractive leads and broadly played by the supporting cast. The film is not even remotely compelling as the human villains are so broadly drawn that the main couple must be completely oblivious and Mae Nak never registers (as human or CGI ghost) as a figure of pathos or threat. The comic relief secondary couple are completely superfluous (and not funny) and there are way too many dreams or dreams within dreams capped by shots of people jolting up into the camera in a cold sweat.