The Other Side of the Door (2016)

Very very predictable, including the post credit scene !!!

Very Cool!!!

Thanks for the memories!

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

After the death of their son, a couple living in Mumbai trying to cope learn a mystical way of bringing them back to communicate with them again only to find that something sinister is following them home and must find a way of stopping the spirits' influence on them.This one wasn't that bad if an altogether decent supernatural affair. One of the few great parts about this one is the fact that it manages to get the conditions and practices of the ceremony into the story rather nicely. The way it details the instructions specifically, from the manner of how to get there and what to do when they arrive and in what precise order it must be carried out in order to work properly, these are all handled quite well and gives this the kind of set-up which brings the scenes in the temple itself their inherent creepiness. By going through the motions of retrieving the ashes, arriving and preparing the candles and the layout of the ceremonial trinkets that are prepared for the start of the ritual inside which is quite creepy and works due to these early set-ups as well as the details of the temple itself. Once it comes back to the rather impressive supernatural details later on, this one is even better with the series of rather chilling events showing the demonic spirit tormenting her and her family out in the slums of the city or the series of rather tense confrontations in their home which are rather fun and chilling from the accidental death in their backyard or the battle in the kitchen with the possessed individual. With so many of these scenes featuring the rather creepy and chilling looking designs of the spirits taken directly from Hindu folklore for their appearance, this makes for a much more shocking look that really helps this one, this one manages to really get some impressive elements here although it does have it's fair share of sizable flaws. The main one here is the fact that so much of what happens here doesn't have the slightest bit of interest here as it's just not that chilling or scary to go through the rather bland scenes of their marital problems or her physical condition which manifests itself following her return. There's way too much melodrama in this part which doesn't come off in the slightest bit interesting following the stellar opening half with the accident and the ceremony, so that dip really appears obvious with some really troubling and bland scenes that feature the wholly expected jump scares of shrieking ashen-faced specters only she can see that are just so expected and clichéd that they're not even that worthy of generating the jump. That becomes a recurring theme here where it tends to rely on this clichéd look and topic for the vast majority of it's scares and it really becomes old after awhile not only seeing the same type of scares but going through the motions again. Likewise, the other big problem area here is the fact that the ending is somewhat abrupt and just seems to end really without warning, stopping and just rolling credits which somewhat neuters the effects just shown beforehand. Otherwise, this one wasn't all too terrible overall.Rated R: Violence, Language, children-in-jeopardy and implied animal violence.

Directed by Johannes Roberts and Roberts co-writes the screenplay with Ernest Riera. It stars Sarah Wayne Callies, Jeremy Sisto, Sofia Rosinsky and Suchitra Pillai.Still struggling to come to terms with the death of her young son, Maria (Callies) is told of an Indian ritual where she can say goodbye to her son one last time, under one condition. The condition is that the conversation will be on the other side of a door - a door which simply must not be opened...There were far worse horror films than this released in 2016, that's not to say this should be a selling point for The Other Side of the Door, but it at least is effective in what it does. The problems really are that it's all very cliché ridden, but how many horror films do not have clichés anyway? This is one for those who are just after a few genuine scares, some creeping dread like atmosphere, and a nifty ending. It doesn't tread any new ground, and it comes off like the bastard child of Ringu and Pet Sematary, but sometimes a safe horror with clichés is all you need for a decent night in with the lights off. 6.5/10

"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

Prison Break's Sarah Wayne Callies carries this British-Indian horror production with the same demeanour as her more familiar role; maternal enough to sell the film's major theme, yet strong enough to carry the entire feature. This, after all, is what Callies is tasked with, as the grieving mother she portrays invites her dead son's spirit back to the world of the living with inevitably chilling consequences.While the majority of studio horror nowadays is bound by so many stipulations - the jump scares, the teenage cast demographics - that ultimately render it generic, The Other Side of the Door benefits from a refreshing change of setting in its Indian locale. As a result, not only does the film look elegantly beautiful with its colours and scenery, but its plot also benefits from a less familiar cultural angle than most supernatural thrillers are afforded. The central menace here - a temple doorway through which the living can contact the dead - is so far removed from Western ideology and the recurring origins of its horror movie monsters that the film undeniably offers something that is at least different, if not completely new. The second act, where things go bump in the night as Maria questions the nature of the spirit she's allowed back into her home, is admittedly routine, but that's not the issue with modern horror; the issue is whether or not it can at least try to overcome this mundane narrative.This is where the screenplay's wider themes come in to sharper focus, as the audience encourages Maria to make the right choices while sympathising with her fragile state of mind. The horror isn't simply limited to creepy children and unseen entities, but also the lengths a parent is compelled to go to in order to be reunited with a lost child. It's most certainly enough to make the more pedestrian scares forgivable as you witness a family being torn further apart by their loss just as much they are the shadows that lurk around them.The Other Side of the Door won't terrify you any more than any other supernatural horror released this year, and that's because, by now, genre aficionados really have seen it all. What it will do, however, is linger with you much longer as you place yourselves in the shoes of an emotionally drained mother who, you understand, would do anything to see her son again.