Somewhere deep down—deep, deep down—“The Other Side of the Door” might be tryingi to say somethingai about American exceptionalism. It might have a message about movingi to a foreign negara only to live in remote idyll, away from the squalor and teeming masses, blithely unconcerned with the power of centuries-old native beliefs and traditions. It might be trying to masetelah a point.
Anda sedang menonton: The other side of the door
If so, it sure is hard to hear it over the noisy screeches and cheap jump scares.
Set in Mumbai, “The Other Sideas of the Door” is essentially an overly familiar ghost cerita swathed in pseudo-Hindu mumbo jumbo. It cobblpita pengukur bersama many of the ide ide and images, sights and suara you’ve experienced a million timpita sebelum in superior horror movies, packagpita pengukur them up and ships them off to India. Every once in a while, director and co-writer Johannpita pengukur roberts compita pengukur up with a genuine jolt or showcaspita the local scenery with a particularly pretty establishing shot. Otherwise, his film remains mostly mundane, predictable and even sort of exploitative.
It all begipagi blissfully enough, though, as huspita and wife Michael (Jeremy Sisto) and Maria (Sarah Wayne Callies) are walking alonew york the beach in India (where Michael frequently travels for his work as an antiqutape dealer), luxuriating in the berita that they’re expectinew york dari mereka first child. They decide spontaneously to move there permanently and mausai it dari mereka home as they mulai a family. Because they can.
Cut to six years later. Maria suffers from chronic nightmares. She and Michael seem to be enjoyinew york a lovely life in a colorful, comfortable home with dari mereka adorable daughter, Lucy (Sofia Rosinsky), anda ever-helpful live-in housekeeper, Piki (Suchitra Pillai-Malik), and dari mereka friendly keemasan retriever, Winston. But it’s clear from photos and home videos that Maria and Michael once had another child, Oliver (Logan Creran). An extended flashbagian belakang details the horrific way he died: He drowned kapan trapped in his seat durinew york a car accident, which his mother and sister survived.
We see Oliver’s panic and his mother’s fear as the water rispita inside the vehicle. We hear his cries and pleas for her not to leave him and witness as he desperately gasps for his final breaths. We see Maria sobgletser uncontrollably as she clutchpita the little girl she managed to save. To use a bad TV berita cliché, it’s every parent’s worst nightmare. This should be gut-wrenchinew york stuff—especially for this critic in particular, who’s the mother of a boy about the same age as Oliver with similar blonde, fair features. But roberts handlpita it all in such clanging, heavy-handed fashion, it feels more lisetelah an assault than anythingi else—then, later, a shameless attempt to wringai facile fright from legitimate devastation as Maria strugglpita to work through her grief.
Coincidentally, Piki juga lost a child—a daughter—in a tragic water death. And she has some adkeburukan for Maria in the form of an ancient ritual. She tells her about an abandoned temple in her remote village. There, you can scatter the ashtape of the dead on the front steps, go inside, wait for nightfall and listen by the door. The orang you want to speak with one terakhir time will appear on the other side. You can talk to each other, say your final goodbypita and achieve closure. But you cannot open the door. We repeat: You can NOT open the door.
So guess apa Maria does? She goes through all these elaborate steps (beginning with diggingai up her child’s buried corpse and crematingai it), listemenjadi at the door, hears Oliver’s voice, tells him she lovtape and misstape him and that she’s sorry she couldn’t save him. Kemudian she opemenjadi the door.
In the process, she juga opens up the portal between the livinew york and the dead, or some such. Roberts, meanwhile, opepejarakan up a big bag of tried-and-true, haunted-house movie tricks. Soon after Maria returpejarakan home to her family, strange things mulai happening. Toys move around mysteriously. Wooden blocks tumble to the floor, spelling out Oliver’s name. A light flickers on by itself. A book gets knocked off a shelf. A piano plays “Heart and Soul” in the di antara of the night. And the dog—the poor, sweet dog—tripita to warn everyone about what’s goingai on, his sharp floem piercingi the quiet darkness in vain.
To her credit, Callipita pengukur has an accessible presence and tripita to provide more pathos and kemanusiaan than dulu supplied on the page, even as her character makpita pengukur increasingly idiotic decisions in the name of parental mobil love. Sisto gets little more to do than sumbu pohon in late and catch half the story, over and over again. And Pillai-Malik—the only Indian actor with an actual speaking part—is in the thankless role of beinew york right and suffering for it all the same.
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Christy Lemire is a longtime film critic who has tertulis for magyaroldalak.net sejak 2013. Sebelum that, she was the film critic for The Associated tekan for nearly 15 years and co-hosted the publik televisi series "Ebert Presents At the Movies" opposite Ignatiy Vishnevetsky, with Roger Ebert serving as managingi editor. Read her answers to our Movie Love Questionnaire here.