The Other Side of the Door (2016)

The Worst Film Ever

Nice effects though.

I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

By the time the dramatic fireworks start popping off, each one feels earned.

A good plot, but it somehow feels the film is missing crucial information. It would have been far more effective had they shown the accident scene, instead of just showing it in flash backs. Although the film is very atmospheric, there are very little scares. Some rather effective visual effects. A very good message is being conveyed here, though.

Horror fans after shock scares, gore and sheer terror will find this a disappointment, it's a horror, but subtle in its delivery, it boasts a sinister plot, plays on fears, and delivers its scares with purpose.Instead of the typical British or American creaky house, we're transported to India, and its colours and sunshine, it certainly makes you see a horror film differently.It's well acted, well produced, I don't know why, but I kept thinking of the Woman in Black, that kind of delivery. For the first forty minutes very little happens, we get back story, plot, but little action, it's more creepy then scary.Not for everyone, but I enjoyed it.

"What if I could bring your son back to you just one more time? What if I could give you the chance to say your final goodbye?""The other side of the door" is not really a bad movie. Technically speaking it really looks magnificent at certain moments. Moreover, India as location and the used ancient ritual sure made for a unique starting point. But ultimately it was only a collection of all sorts of previously used ideas. I thought it felt a bit outdated. That wouldn't be such a huge problem if there was a certain tension or creepiness. Unfortunately, this was also missing, making it once again a horror that never exceeded mediocrity.The story reminded me of "Pet Semetary" with the loss of a child and the desire to bring it back to life again. In "The Other Side of the door" Michael (Jeremy Sisto) and Maria (Sarah Wayne Callies) decided in an impulsive moment to stay in Bombay and to found a family. Years later we see how they have settled there, living in an idyllic looking house somewhere in downtown Bombay and their lives being enriched by the presence of their daughter Lucy (Sofia Rosinsky) and the typical family dog ​​Winston. However, it's not entirely rosy because of the tragedy that occurred in the past, with the death of their son Oliver (Logan Creran) as a result. Maria is tormented daily by guilt and grief. Fortunately, Piki (Suchitra Pillai) the housekeeper has a grandiose idea. The things needed to fulfill this idea are the ashes of the deceased child, an old dilapidated temple and a nightly sleepover there. This could bring relief to Maria's heavy psychological problem. But obviously there's a golden rule that shouldn't be violated. And of course it's clear that is definitely going to happen anyway. Now we're off to a kind of "The Conjuring" made in India. All kinds of objects suddenly start to move around and ghostly apparitions appear and reappear in the background. And for the umpteenth time we get a self-playing piano. And for God's sake, when is anybody going to pay attention to the warnings of the dog. First the phenomenon is the kindness itself. Afterwards it turns out to be fairly aggressive again. Nothing new either. And just like in "Lights Out", the solution to the problem is the relationship between the caring mother and the ghostly presence. Again so predictable. Throw in some primitive painted Indian folkloric figures, called the Aghori who practice rather peculiar rituals so they can communicate with spirits in the afterlife, and it's complete. Those Aghori are creepy individuals appearing out of nowhere and producing an annoying, mesmerizing sound. But they aren't as scary as Myrtu who suddenly begins to interfere with the whole affair. It's a creature from the underworld that looks terrifying enough. I think they've used the "stop-motion" technique for this one (also an obsolete special effect). For me this was probably the most positive part of the film.All in all, it's just an old-fashioned ghost story that didn't take place in an American old mansion to my relief, but in dark India instead where the mystic about afterlife and primitive rituals are still alive among the elderly population. Clearly modern Western people shouldn't experiment with such rituals. It's nothing earth shattering, but it's not bad either. Though expect a few strategically placed jump scares and a thoughtful ending. More reviews here : http://bit.ly/1KIdQMT

Or, just go to Home Depot equivalent in India and DIY.Seriously. Why hadn't anyone thought about putting a lock on that door? So many people warn about opening it, so many followers spend their life cleaning up the mistakes of the visitors and nothing good comes from it. So lock it up, baby!Backing up, the movie's about a tragic loss of a child that leads the mother to a door she can speak to her ghost son. Only, like it's spelled out above, she isn't allowed to open the mystical door to the "other side." Would there be a movie if she didn't foolishly open it and chaos ensues for the remainder of the family until the returning ghost is busted?2016 is truly turning me around to my least subgenre of horror: ghost stories. Still not a fan, but after this very well shot movie and The Conjuring 2 that easily and triumphantly made up for not just The Conjuring 1, but many more of the same exact haunted house movies that's flooded the market for a decade now. Hollywood, you keep making intelligent and original ghost stories like these two and you'll finally earn my respect and dollars.Yes. I did like this movie. It's not perfect, though. It's got all the stereotypical ghost jump scares that stopped being scary in 2004…or even much before that. It's even got the corny, overlong egg-shaped mouth opening that never stops making me laugh – first seen for me in I Am Legend. And for only about 90 minutes, it seems longer than it should've been.But, the initial premise. Oh, dear God, the first premise. Not just original, well-acted and believable, but heartbreaking enough for any full-length movie. A mother of two is in a sinking car and has only one opportunity to save one of her children. This scenario alone brings this movie from just a haunted ghost story to an elevated and deep movie. That's the lead into the mother going to the ancient door to speak with her son – the one she had to sacrifice to save her daughter. Now, that premise, is also somewhat original, but it's also a double-edged sword: despite what she's been through, and who could ever put themselves into her shoes?, how dumb do you have to be to open a door that not only people warned you about, but also you believe enough to know this is about to get…terrible.The movie's worth watching. Mercifully it is around the hour and a half mark, so even though it drags in Act Two, it's quick enough to get all the better parts in.***Final thoughts: I hate seeing actors type-casted. I know a lot try their best to break from their mold and comfort-zone to avoid that, but even then, there are times I just simply can't get past their past. The lead here, Mother-May-I-Return-From-The-Dead?, is Sarah Wayne Callies. You may not recognize the name, but if you're a die-hard fan of The Walking Dead as I am, it might be as hard for you as it was for me to see her as anything but Rick Grimes' wife on the show. She does have depth, especially for the decision she had to make with her children, but dang it, she's just Lori Grimes to me.