Becue-Renard brings his own brutality to the topic of PTSD, by putting us at odds with feeling his subjects' pain, or only studying it.
Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common. Somewhere deep down—deep, deep down—“The Other Side of the Door” might be trying to say something about American exceptionalism.
If so, it sure is hard to hear it over the noisy screeches and cheap jump scares.Set in Mumbai, “The Other Side of the Door” is essentially an overly familiar ghost story swathed in pseudo-Hindu mumbo jumbo.
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On the opening page of this riveting novel, 12-year-old Sade's mother is murdered, the victim of a corrupt Nigerian government that is seeking to prevent Sade's journalist father from writing about the oppression there. After the murder of their mother, twelve-year-old Sade and her younger brother are smuggled out of Nigeria by their journalist father to escape the corrupt military government and growing violence. It might have a message about moving to a foreign country only to live in remote idyll, away from the squalor and teeming masses, blithely unconcerned with the power of centuries-old native beliefs and traditions. It cobbles together many of the ideas and images, sights and sounds you’ve experienced a million times before in superior horror movies, packages them up and ships them off to India. You will receive a weekly newsletter full of movie-related tidbits, articles, trailers, even the occasional streamable movie. Little more than 24 hours later, Sade and her ten-year-old brother, Femi, are alone on the streets of London.
They are sent to their uncle in London, but when they arrive, he is missing and they are abandoned, passed between foster homes.


Every once in a while, director and co-writer Johannes Roberts comes up with a genuine jolt or showcases the local scenery with a particularly pretty establishing shot. I understand that Book Outlet will not sell or share my personal data with any other outside third party for the purpose of marketing communications.
Their father escapes to England to find them -- but he will be sent back to Nigeria unless Sade can find a way to tell the world what happened to her family.A Silver Medal winner of England's Smarties Book Prize, Beverly Naidoo's new novel explores the issues of family, exile, and freedom wtih eloquence and stunning realism. Otherwise, his film remains mostly mundane, predictable and even sort of exploitative.It all begins blissfully enough, though, as husband and wife Michael (Jeremy Sisto) and Maria (Sarah Wayne Callies) are walking along the beach in India (where Michael frequently travels for his work as an antiques dealer), luxuriating in the news that they’re expecting their first child.
They decide spontaneously to move there permanently and make it their home as they start a family. Yet Sade knows -- for their own safety and the safety of their father, who may or may not have escaped -- that she can't reveal who she and her brother really are. She and Michael seem to be enjoying a lovely life in a colorful, comfortable home with their adorable daughter, Lucy (Sofia Rosinsky), their ever-helpful live-in housekeeper, Piki (Suchitra Pillai-Malik), and their friendly golden retriever, Winston.
But it’s clear from photos and home videos that Maria and Michael once had another child, Oliver (Logan Creran). Now the Nigerian government claims he murdered his wife, and the British government is holding him for extradition.
We hear his cries and pleas for her not to leave him and witness as he desperately gasps for his final breaths. All that her father and mother taught her haunts, and eventually fortifies, Sade as she feels her way through life as a refugee.
Beverley Naidoo's moving novel works on multiple levels, from its bracing indictment of political corruption and oppression to its portrait of two children reeling from grief and shocking change.


This should be gut-wrenching stuff—especially for this critic in particular, who’s the mother of a boy about the same age as Oliver with similar blonde, fair features.
But Roberts handles it all in such clanging, heavy-handed fashion, it feels more like an assault than anything else—then, later, a shameless attempt to wring facile fright from legitimate devastation as Maria struggles to work through her grief.Coincidentally, Piki also lost a child—a daughter—in a tragic water death.
There, you can scatter the ashes of the dead on the front steps, go inside, wait for nightfall and listen by the door. She goes through all these elaborate steps (beginning with digging up her child’s buried corpse and cremating it), listens at the door, hears Oliver’s voice, tells him she loves and misses him and that she’s sorry she couldn’t save him. Then she opens the door.In the process, she also opens up the portal between the living and the dead, or some such. And the dog—the poor, sweet dog—tries to warn everyone about what’s going on, his sharp bark piercing the quiet darkness in vain.To her credit, Callies has an accessible presence and tries to provide more pathos and humanity than were supplied on the page, even as her character makes increasingly idiotic decisions in the name of parental love. Sisto gets little more to do than rush in late and catch half the story, over and over again. And Pillai-Malik—the only Indian actor with an actual speaking part—is in the thankless role of being right and suffering for it all the same.



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