Nazi rage against the rest of the human race lives on after death in “The Hatred,” a leaden horror film that takes more than its sweet time getting to whatever “terrifying” point it wants to make.

A war criminal (Andrew Divoff)took up farming after slipping into America. He argues with his daughter Alice (Darby Walker) over her lack of freedom, holed up in the remote farmstead

“Keep to your own kind, your family.” stay away from “degenerate influences.”

Farmer Sears runs his house like a concentration camp, at least as far as Alice is concerned. He wears combat poison gas gear to apply pesticides to his crops, and unpacks a long-stored gift from his beloved Fuhrer. It’s an iron cross with strange symbols and writing on it.

And no sooner has he buried this treasure in a basement wall than one of his fights with Alice turns deadly. He’s lost control. His wife (Nina Siemaszko) does the same. She leaves a farm with two bodies buried on it, and an evil talisman concealed in the basement.

Decades later, a quartet of coeds — Sarah Davenport, Gabrielle Bourne, Bayley Corman, Alisha Wainwright — drop in to the about-to-open bed and breakfast and stumble across the “research” the new owner (“American Werewolf” veteran David Naughton) seems to have been compiling on the place.

Irene, his little girl (Shae Smolick) knows all about Alice, and not from reading up on her. Uh oh.

“The amulet was sent here to Siegfried from Brazil,” and seems to store the hatred it encounters.

Helluva thing to discover on a stormy night while in your nighties, ladies. And “hide and seek?” Not the best time for that, either.

“I need some wine. Should we be SMOKING now?”

Shadows move, ghoulish hands reach up from under the covers, a vintage radio crackles to life with German propaganda from You Know When.

Whatever you do, don’t split up, don’t go to sleep, don’t look in “there”and don’t stick your hand in that watering trough where Alice drowned. This is Beelzebub’s B & B, now. Alice is just the maid.

Writer-director Michael G. Kehoe burns through the viewer’s patience with a slow-footed 22 minute prologue that he could have whacked down to seven. He set out to make a cute coeds in crisis exploitation picture, and the longer he takes to get to them, the less exploitation there will be.

And as the object of the picture is “Save the little girl,” for the love of God — don’t leave her alone.

A truly horrific wraith, the old “yank the coed out of the frame” trick, and a lot of far less frightening shock effects dress up this dark and stormy night. You see some of them coming from a long way off, and the closer we get to look at them, the less scary they become.

Who will survive? Maybe the young ladies who paid attention in her history and German classes. Maybe not.

Making us care is real goal here, and none of the players help us make that leap. They never seem scared. Why should we?

MPAA Rating:R for some violence/horror images

Cast: Sarah Davenport, Gabrielle Bourne, Bayley Corman, Alisha Wainwright, Shae Smolik, Nina Siemaszko, Darby Walker, Andrew Divoff, David Naughton

Credits: Written and directed by Michael G. Kehoe. An Anchor Bay release.

Running time: 1:34