Photo Credit: Gruesome Magazine
The Other Side of the Door, one of a number of horror flicks that have been released recently, opened in theaters Friday, March 4, with Sarah Wayne Callies and Jeremy Sisto starring as Maria and Michael, expats raising a family in India.
After a horrible accident takes the life of her youngest son, the near-suicidal Maria seeks out an ancient temple with the power to communicate to the recently departed. The catch is that you can only speak with the deceased, you can never open the door to actually see them. Of course, Maria can’t hold herself back and opens the door, upsetting the balance between life and death.
While there are few such movies that have taken place in Mumbai as this one does, unfortunately, this is a “perfect example of a film that squanders a unique setting and possibility for characters rarely seen on screen by focusing on people and plotting we’ve seen too many times before,” writes Variety’s Geoff Berkshire.
“Horror cliches know no borders,” in this “blandly derivative ghost story,” Berkshire adds.
The Other Side of the Door had a lot of potential, but the consensus among critics seems to be disappointment. Hollywood Reporter’s Justine Lowe notes that “aside from his best-known film, 2012 thriller Storage 24, director Johannes Roberts has established a track record directing low-budget horror, although he achieves improved returns by elevating both concept and budget with The Other Side of the Door, which still represents only nominal progress.”
Try to count the horror movie cliches in the trailer alone, and you’ll have an inkling as to what awaits.
Roberts “fares somewhat better establishing a moody visual style” than creating any memorable frights, adds Lowe.
The Wrap calls it “dull, uninspired, and often an culturally tone-deaf thriller which involves exactly the sort of trespassing about which its characters were warned,” perfectly summarizing it in the headline: “If Death Knocks, Don’t Bother Answering.”