Maria begins to feel guilty after she lost her son Oliver in a tragic accident in mysterious circumstances. Maria decides to visit a remote temple to contact her deceased son, but she discovers a real disaster when she opens an unintended door to the return of life. Oliver's troubled spirit begins with an attempt to come home and chase the rest of his family nonstop, and that spirit may need to be stopped so as not to cause the destruction of the family.
The Other Side of the Door ended up being an enjoyable viewing experience due to Roberts' ability to manipulate familiar tropes and give them a proper twist.
Like all the best horror, The Other Side of the Door is concerned not just with what freaks us out on a gut level, but the deeply-repressed anxieties that truly terrify us.
Feels like a horror genre cliche compilation: the family with the tragic past, the exotic location, and something forbidden that will atract the horrors of the night. [Full review in Spanish]
There is Conjuring-style haunting. There's a creepy piano that plays itself. And there is an annoyingly liberal use of horror's cheapest gimmick, the jump-scare.
Along with writing partner Ernest Riera, Roberts pilfers odds and ends of Hindu religious practices and folklore to construct a middling ghost story that traces a vaguely Gothic outline, only to follow a wearyingly derivative trajectory.
The type of sporadically silly and patently predictable horror pic that would look like filler on Syfy's weekend lineup, "The Other Side of the Door" brings virtually nothing new to the supernatural genre.
