Michael Ledo Michael (Jeremy Sisto) and Maria (Sarah Wayne Callies) have given up the city that never sleeps to live in India, the part that looks like paradise and doesn't have all those third world beggars. Maria has trouble coping with the loss of her son Oliver (Logan Creran) who she accidentally drowned Susan Smith style. She is informed on how to talk to her son one last time, by going to a remote temple only known to the locals and those with Google Earth. Here the boundary between the living and dead is weak. After spreading Oliver's ashes and waiting until night, she can speak to Oliver through a door, which she is instructed never to open. She gets it all correct, except for maybe that one thing, which you would know if you are old enough to read the title.Soon they have visitations which are initially pleasant and then formula. The film was meh up until the last 10 minutes which were great.Guide: No swearing, sex, or nudity. The "R" and BCFF 15 ratings I consider a bit high.

2fresh 2clean "The Other Side of the Door" is one of those horror films that had so much potential but fell a little flat. The story is about a wife who loses her son in a horrific car accident but then finds a way to say her last goodbyes after he is gone but she doesn't follow the rules of what has to be done to say her last goodbyes, so as a result strange things start happening. Great idea but the film could have been written better, not saying this film was totally bad, it just could have been written a little better. Instead of being more of a horror film, maybe this film was more about a wife who is struggling in her marriage because of the loss of her child because a lot of that was expressed in this film. With that being said, the horror side of this film wasn't all that scary. The jump out of your seat scenes isn't really going to make you jump out of your seat and the ghost scenes were nice but they weren't really scary, but I've seen a whole lot worse. If you watch this film you won't be disappointed, just don't expect a night of sleeping with the lights on.

Argemaluco I can't deny the fact that the premise of The Other Side of the Door is more creative than the typical tales about haunted houses and vindictive ghosts. And the same can be said about the Indian locations, which employ the city of Mumbai as the frame of exotic rituals and spiritual practices which are a bit confusing, but at least different from the Christian iconography which is so common in the horror genre. Unfortunately, co-screenwriters Johannes Roberts (who was also the director) and Ernest Riera thought that that innovation was going to be enough, so he filled the story with the most worn- out clichés, including: forced shocks every 10 or 15 minutes; skeptical husband; night noises; visions which end up being simple nightmares; gratuitous dog victim; digitally deformed faces; and evil kid (or childish spirit, in this case). The mythology of the screenplay isn't clear, but it has a certain logic which isn't convenient to examine too much, while it's not convenient to deepen into the solution offered by the Indian Brahmins to break the spell. As for the cast, we find two solid actors (Jeremy Sisto and Sarah Wayne Callies) trapped into bland and generic roles which don't require too much effort. On the positive side, I liked the way in which Roberts and Riera brought an interesting twist to the typical car accident which adds drama to any tale, because it makes us think about what we would do under similar circumstances, while inspiring fear of something like that happening in our lives... not the apocryphal "horror" of ghosts and possessions, but the real anguish about the welfare of the family; in other words, another good idea into a screenplay ruined by an insipid and listless execution. However,I think I can give The Other Side of the Door a slight recommendation, specially to those people who don't know the previously mentioned clichés by heart. Stan Lee once said: "every comic is someone's first comic", and I guess that The Other Side of the Door can be the first horror film someone watches, and in that case, I found it moderately entertaining... and mediocre enough in order not to create excessively high expectations for this genre. It's better to start from the bottom and then going up in order not to get immediately disappointed.

TheRedDeath30 From a purely "critical" point of view, this movie is pretty much garbage. It's an amalgamation of many parts that it has stolen from other, far better, movies. By transplanting the movie to the exotic locale of India, the movie hopes we forget that we've seen this all before. That's the critic in me speaking, though. From the point of view of entertainment, I would say, though, that the movie has enough moments to keep it from falling into horrid and bland territory. The mom we all love to hate from THE WALKING DEAD plays to type here, as once again she has failed her children miserably. We start at the middle of the story, though, seeing a family dealing with the loss of their son (because we haven't seen that a thousand times in horror). Sarah Wayne Callies (Lori from TWD) and Jeremy Sisto play a couple who have moved to India. Through a series of reveals, we come to learn that an accident led to the mother and her two children trapped in their car as it descends underwater. She can only save one and makes a difficult choice, leading to the death of their boy.Their caretaker has a solution, though. She knows of a temple where the dead can visit the living, allowing them to speak to lost loved ones. There is a dire warning, though, that this is only a visit and she is not to open the door, lest terrors await. Of course, our mother makes that fateful choice, opens the door and lets a malevolent spirit into their lives. If all of this sounds a little familiar, that's because it is a pretty blatant ripoff of PET SEMETARY. There are those that would tell you it's homage, but one man's homage is another man's stolen goods and this is a little too stolen. There are clues all over that they have done this, going so far as to use a picture of PET SEMETARY's director in the movie and naming the dog Winston (first name of Churchhill, who the cat was named for in PS). The stolen ideas don't stop there, either, as the makeup design for the boy is pretty much an exact replica of the famous ghost boy in del Toror's masterpiece, THE DEVIL'S BACKBONE.I'm going to nitpick another thing that bothers me here. Mom goes to a creep temple in the woods. She is told that the spirit will visit her here, but she is not to open the door. The spirit is outside the temple, knocking on the door. How, exactly, was she supposed to ever return home if she is inside the temple and is not able to open the door to the outside? A minor point, but one that stuck with me for awhile.There is, also, a little too much going on here. We have the spirit of their boy, who is not the sweet little thing that they lost. He is angry and does terrible things to the family. We, also, get a creepy goddess, who is pretty much the girl from THE RING with slightly different makeup. It is angry that a spirit has escaped its' realm and come back for it, so now there is not just one spirit after the family, but two. That's not enough drama, apparently, because there is also some sort of death cult that keeps showing up out of the blue. What saves the movie from disaster is the locale. I cannot recall another horror movie in my recent memory held in India and the location and setting gives it a different feel. The goddess feels like every other creep Asian horror icon, but the death cult is something I haven't seen used since THE TEMPLE OF DOOM when Indiana Jones battled with one. The house the family lives in is beautiful and the scene where mom runs through the streets of India looking for her little girl feel claustrophobic and would not have worked as well in another locale.That is not enough to save this from being anything more than a forgettable movie, but one you won't regret watching. You'll just not be in any rush to ever watch it again.One more note, can we stop with the dog deaths, Hollywood? Once upon a time, it was daring to kill a dog in a movie. People were shocked by it and, as a result, it had emotional resonance. It was an effective way to unsettle an audience. Now, every horror movie goes out of its' way to show us a dog in the opening scenes, which we just know will end up dead or injured. It's lazy writing and lazy film making.