The Door Movie Review: Bhavana convinces, but suspense remains stubbornly unsummoned
The Door Movie Review: Critics Rating: 2.0 stars, click to give your rating/review,
Critic's Rating: 2.0/5
The Door Movie Synopsis:
The Door Movie Review: In Jaiiddev’s The Door, the most terrifying presence isn’t actually in the movie; it’s the creeping realisation you’ve seen this exact spectral blueprint many times before. The result is a two-hour séance that isn’t slow-burn horror but simply… slow.
Our protagonist is Mithra (a capable Bhavana), an architect grappling with her father’s recent, slightly fishy accident. She’s promptly assigned by her boss (Jaya Prakash, reliably officious) to a construction site practically humming with bad juju — a worker has already taken a dive, another bites the dust shortly after her arrival. Because, of course! Soon, Mithra’s seeing things, hearing whispers, becoming the designated vessel for a ghostly mother-daughter duo seeking payback for a land-grab atrocity from the '90s.
What unfolds is less a gripping mystery and more a tedious legwork through horror’s most dog-eared playbook. Cue the paranormal expert stating the obvious (“They want to communicate!”), the conveniently unearthed clues in dad’s dusty files, and a paint-by-numbers investigation trailing dodgy retired cops and compromised doctors. It all laboriously leads to the Big Bad (Nandha Kumar), hiding in plain sight like he’s waiting for his cue. The film meticulously lays out the sordid backstory – greed, murder, cover-ups – but forgets the crucial ingredient: making us care. Even a late reveal linking Mithra’s father to the original sin hits with the resonance of a damp sponge.
Still, Bhavana, thankfully, holds the centre with conviction, providing a necessary anchor. Give the film enough runway, and the plot threads do manage to knot together, generating some actual investment in her character’s plight. Visually, things are kept clean and grounded, occasionally managing a flicker of unsettling mood.
The séance concludes, the spectral dust settles, leaving behind... well, not very much, actually. An adequately performed ritual, perhaps, but the ghosts here feel frustratingly polite.
Written By: Abhinav subramanian
The Door Movie Review: In Jaiiddev’s The Door, the most terrifying presence isn’t actually in the movie; it’s the creeping realisation you’ve seen this exact spectral blueprint many times before. The result is a two-hour séance that isn’t slow-burn horror but simply… slow.
Our protagonist is Mithra (a capable Bhavana), an architect grappling with her father’s recent, slightly fishy accident. She’s promptly assigned by her boss (Jaya Prakash, reliably officious) to a construction site practically humming with bad juju — a worker has already taken a dive, another bites the dust shortly after her arrival. Because, of course! Soon, Mithra’s seeing things, hearing whispers, becoming the designated vessel for a ghostly mother-daughter duo seeking payback for a land-grab atrocity from the '90s.
What unfolds is less a gripping mystery and more a tedious legwork through horror’s most dog-eared playbook. Cue the paranormal expert stating the obvious (“They want to communicate!”), the conveniently unearthed clues in dad’s dusty files, and a paint-by-numbers investigation trailing dodgy retired cops and compromised doctors. It all laboriously leads to the Big Bad (Nandha Kumar), hiding in plain sight like he’s waiting for his cue. The film meticulously lays out the sordid backstory – greed, murder, cover-ups – but forgets the crucial ingredient: making us care. Even a late reveal linking Mithra’s father to the original sin hits with the resonance of a damp sponge.
Still, Bhavana, thankfully, holds the centre with conviction, providing a necessary anchor. Give the film enough runway, and the plot threads do manage to knot together, generating some actual investment in her character’s plight. Visually, things are kept clean and grounded, occasionally managing a flicker of unsettling mood.
The séance concludes, the spectral dust settles, leaving behind... well, not very much, actually. An adequately performed ritual, perhaps, but the ghosts here feel frustratingly polite.
Written By: Abhinav subramanian
