movie review the door

Though it's refreshing to see a prestige picture pass the Bechdel test with flying colors -- hell, this movie basically consists of two women talking about everything but men -- vet Magyar director Istvan Szabo's "The Door" is, unfortunately, starchy and conventional in just about every other respect.

By Boyd van Hoeij

Boyd van Hoeij

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Though it’s refreshing to see a prestige picture pass the Bechdel test with flying colors — hell, this movie basically consists of two women talking about everything but men — vet Magyar director Istvan Szabo ‘s “The Door” is, unfortunately, starchy and conventional in just about every other respect. This unmoving English-language adaptation of Magda Szabo’s bestselling page-turner stars a deglammed Helen Mirren as a disagreeable cleaning lady hired by a bourgeois novelist, played by Martina Gedeck, in 1960s Hungary. Already released in Mitteleuropa in a (no doubt superior) dubbed version, this mothball-scented, Europudding-accented drama won’t open many other theatrical doors.

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The novel by Szabo, no relation of the director, is a cleverly constructed, partially autobiographical work that aims for a big emotional payoff as it slowly reveals why the no-nonsense Emerenc (Mirren), the working-class cleaner of well-off writer Magda (Gedeck), is so secretive about her past, lets no one into her modest home and has particularly outspoken views on life, politics, religion and people’s role in society. Though technically a servant, Emerenc clearly doesn’t tolerate other people telling her what to do.

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But the many contradictions in her character and the conflicts this generates with her station and complicated past are never convincingly drawn. To complicate matters even further, the screenplay by Szabo and Andrea Veszits is unable to suggest why Magda, even less of a developed character than Emerenc, would keep on a hand who not only has a habit of telling off her employer but who comes and goes at ungodly hours.

Add to this the conspicuous lack of a larger political and historical context — personal freedom and labor-related obligations would seem like subjects that would resonate in a Soviet-communist framework — and the pic becomes an unconvincing and rather dull series of scenes in which two women talk a lot but don’t say all that much. When the film gets around to the big reveal, after numerous color-drained flashbacks, it’s more of a shoulder-shrugging moment than an emotional thunderclap.

Mirren, as frumpy as she’s ever been onscreen, but with her trademark steely demeanor intact, is fine as Emerenc, somehow making the intermittently stilted dialogue sound almost natural. Gedeck (“The Lives of Others”), playing essentially a spectator to Emerenc’s unraveling, struggles to develop any interest in her character, and occasionally sounds awkward in English. At least her lines haven’t been dubbed in what sounds like an echo chamber, as is the case with some of the supporting characters, such as Tibor (Karoly Eperjes), Magda’s pleasant but narratively superfluous husband.

Apart from the dialogue and contextual issues, Szabo has crafted another technically impeccable feature. Lensing by Elemer Ragalyi, with its warm sunlight in summer, and cold, white-skied luminosity in winter, feels conventional, but is otherwise immaculate. A similar verdict can be rendered over Volker Shaefer’s production design and Gyorgyi Szakacs’ costumes. Recurring musical leitmotif further adds to the pic’s old-fashioned feel.

Hungary-Germany

• Production: A Piffl Medien Filmverleih release (in Germany) of a Filmart Studio, Intuit Pictures presentation and production, in association with ARD Degeto, Head Gear Films. (International sales: Bankside Films, London.) Produced by Jeno Habermann, Sandor Soth. Directed by Istvan Szabo. Screenplay, Szabo, Andrea Veszits, based on the novel by Magda Szabo.
• Crew: Camera (color), Elemer Ragalyi; editor, Reka Lemhenyi; music, Robert Schumann, Istvan Lorand; production designer, Volker Schaefer; costume designer, Gyorgyi Szakacs; sound (Dolby Digital), Simon Kaye; assistant director, Laszlo Janic. Reviewed online, Karlovy Vary, July 4, 2012. (In Karlovy Vary Film Festival -- Special Events.) Running time: 94 MIN.
• With: Helen Mirren - Emerenc Martina Gedeck - Magda Karoly Eperjes - Tibor With: Gabor Koncz, Eniko Borcsok, Mari Nagy, Agi Szirtes, Peter Andorai, Erika Marozsan, Anna Szandtner, Reka Tenki, Denes Ujlaky, Jiri Menzel. (English, French dialogue)

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The door: berlin film review.

Istvan Szabo's drama, set in Hungary in the 1960s, stars Helen Mirren as a maid and Martina Gedeck as a well-to-do novelist who form an unlikely bond.

By THR Staff

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Berlinale Film Festival Press Still The Door  - H 2012

Faultlessly directed with Old World taste and conviction by Istvan Szabo , The Door describes the unusual relationship between a well-to-do novelist and her poor, elderly maid. A showcase for the formidable acting talent of leads Helen Mirren and Martina Gedeck ( The Lives of Others ), this character-driven drama feels too traditional, however, to rally the audiences that Mirren’s performance, in particular, deserves. Set in Hungary in the 1960s, the film faces the additional hurdle of English-language dialogue that sounds forced in the dubbing of minor roles. Still, the overall quality of the production and its powerful story are bound to draw some art house interest.

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The symphonic music that accompanies an elderly washerwoman (Mirren) as she goes about her chores in the opening scene sets the stage for the intelligent adult movie that is about to unfold. Emerence inhabits humble ground-floor quarters in front of a grand house, where Magda (Gedeck) and her husband, Tibor ( Karoly Eperjes ), have just come to live. Surprised by, but tolerant of, the old lady’s blunt, often insulting speech and uncompromising manner, Magda persuades her to clean their house.

The Bottom Line Good old-fashioned storytelling illuminates the relationship between two women in Istvan Szabo’s elegantly directed drama.

Rumors around the neighborhood hint darkly at secrets in Emerence’s past, which she does nothing to dispel. Her door has been closed to visitors for decades, and Magda believes Emerence is hiding Jewish property she stole during the war.

As grating as the old lady is, Tibor can’t do without her cooking nor Magda without her cleaning, so they put up with all her eccentricities, which include bursting into their bedroom unannounced and insisting they display a ceramic dog statue in their elegant intellectual digs. (Dogs and cats play an important role as surrogate objects of affection.) Gradually a strange bond is forged between the two women that brings out the strength of one character and the weakness of the other.

Gedeck is warm and unexpected in her portrayal of Magda, a writer whose latest novel, though heavily criticized by the Communist press, somehow pleases the minister of culture. She goes off to Budapest to receive a literary prize, just as Emerence falls ill and enters a crisis that will conclude the two women’s relationship in a fairly tragic way. 

Szabo ( Mephisto ) is a masterful storyteller who modulates the screenplay, co-written with Andrea Veszits , like a symphony, full of quiet moments dotted with sudden explosions of terrifying emotion, accompanied by frightening onscreen thunderstorms. The most unforgettable of these outbursts is Emerence’s recollection of how her two little twin sisters were struck by lightning under the tree where she had left them. This single scene could be the centerpiece of a film in itself, yet here it is a small part of the long, eventful life that has made this indomitable lady what she is.

An interesting footnote to the film is that it contains autobiographical elements from the life of the major Hungarian novelist Magda Szabo (no relation to the director), who wrote the novel on which it is based.

Production companies:  FilmArt Kft, Intuit Pictures

Cast: Helen Mirren, Martina Gedeck, Karoly Eperjes

Director: Istvan Szabo

Screenwriters: Istvan Szabo, Andrea Veszits, based on a novel by Magda Szabo

Producer: Jeno Habermann, Sandor Soth

Executive producers: Phil Hunt, Marco Mehlitz, Compton Ross

Director of photography: Elemer Ragalyi

Production designer: Lorant Javor

Costumes: Gyorgyi Szakacs

Editor: Reka Lemhenyi 

Sales Agent: Bankside Films        

No rating, 98 minutes

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By Mark Adams, chief film critic 2012-07-07T16:08:00+01:00

Dir: Istvan Szabo. Hungary-Germany. 2011. 94mins

A mannered, stagey and straight-forward period drama distinctive only for its grumpy lead central performance by Helen Mirren, The Door flirts with Euro-pudding status due to its dodgy dubbing of certain roles and simplistic and old-fashioned story and is saved only by Mirren’s cold-eyed and focussed performance and that fact that it is made by veteran director Istvan Szabo.

The Door is a resolutely old-fashioned film that trades in its look and mannered quality.

An English-language (though naturally dubbed for many European territories, which may aid release) adaptation of the acclaimed novel by Magda Szabo (no relation), the film is distinctive due to its elegant production design and striking cinematography, but never manages to be involving or moving…the two important aspects to a story that proved a success in print. The high quality cast and crew should attract buyer interest, though The Door (which has a special screening at the Karlovy Vary International Film Festival) is unlikely to break-out, and seems more likely destined for further festivals and television than big-screen success.

Set in 1960s Hungary, bourgeois would-be novelist Magda (Martina Gedeck, from The Lives Of Others ) is looking for a cleaner to tend the large house occupied by herself and her husband Tibor (Karoly Eperjes) while she sits at her typewriter. She manages to recruit the terrifyingly grumpy Emerenc (Mirren), who is a wonderfully efficient cleaner but lacks any kind of grace or charm.

In fact Emerenc and Magda seem to do nothing but battle and bicker as they try and get used to each other. One of the biggest problems with the film adaptation is the leap of belief that the pair would gradually become friends (or at least have respect for each other) with the characters barely developed beyond their first introduction.

The dramatic twist waiting towards the climax relates to Emerenc’s small house and the fact that she will never let anyone beyond her front door (the ‘Door’ of the title). When the final revelations as to what lies behind the door come they are intriguing, but perhaps never as dramatic or moving as they should be, mainly because the film never really sets up drama of the relationship between the two women to its full effect.

The unsmiling and impressively frumpy Mirren looks the part, though her staccato line delivery is uncomfortable at times and tends to accentuate the rather jarring back-and-forth structure of the film – as the two women go back and forth between each other’s houses in a strange kind of courtship – and hamper its flow. Gedeck is given much less to do – the film is essentially a platform for Mirren’s undoubted charisma – and her character rather uninteresting.

The Door is a resolutely old-fashioned film that trades in its look and mannered quality to give the impression that it is far more profound than it actually is. There certainly are moments to enjoy, but it is in the end all rather forgettable rather than a moving period drama that it sets out to be.

Production companies: Filmart Studio, Intuit Pictures, ARD Degeto, Head Gear Films

International sales: Bankside Films, www.bankside-films.com

Producers: Jeno Habermann, Sandor Soth

Screenplay: Istvan Szabo, Andrea Veszits, based on the novel by Magda Szabo.

Cinematography: Elemer Ragalyi

Editor: Reka Lemhenyi

Production designer: Volker Schaefer

Music: Robert Schumann, Istvan Lorand

Main cast: Helen Mirren, Martina Gedeck, Karoly Eperjes, Gabor Koncz, Eniko Borcsok, Mari Nagy, Agi Szirtes, Peter Andorai, Erika Marozsan, Anna Szandtner, Reka Tenki, Denes Ujlaky, Jiri Menzel

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Movie Review: Kevin Costner sets the table with overstuffed first take on epic 'Horizon'

There’s a scene deep into Kevin Costner’s new Western when he and a woman are fleeing bad guys on horseback

There's a scene deep into Kevin Costner's new Western when he and a woman are fleeing bad guys on horseback. They pause at a jaw-dropping vista and he turns to her: “You just gotta keep going,” he tells her.

That should be the slogan of “Horizon: An American Saga — Chapter 1,” the initial three-hour salvo in what could morph into a four-part epic about the West that could tax even the biggest cowboy fan.

Give Costner — co-writer, director, producer — his due. This is a labor of love he's been thinking about since the 1980s and he has skin in the game: He took out a mortgage on his 10-acre home in Santa Barbara, California. Well, one of his homes, at least. He's not a total idiot.

“Chapter 1” — “Chapter 2” is to be released in August and parts three and four depend on if folks keep going — is a sprawling, often unwieldy placesetter, introducing dozens of characters in different parts of the West who, one has to assume, will interact at some point. If they survive, that is.

It’s a spectacularly unsubtle movie, from the opening moment when a group of ants on a hill of dirt are crushed by a surveyor’s wooden stake. If there's any doubt what we must feel, listen to John Debney’s ponderous, pretentious score, with its criminal overuse of cellos.

Costner scrambles the plot — crafted by him and Jon Baird — almost immediately by offering a climactic battle scene within the first half hour, one in which a small white settlement in Arizona’s San Pedro Valley (thanks, southern Utah!) is sneak-attacked by Apaches during an innocent dance.

It's a slaughter and it lasts way too long — savagery on one side, noble victims on the other. Mothers are struck by arrows while carrying their babes, unarmed musicians killed without a thought. “Ready son?" asks a dad to his teenage son, handing him a rifle and facing certain death. ”I think so, dad," comes the plucky reply. In the aftermath, a mother cradles the corpse of her son and talks to it.

This slaughter shoots off a few story strands — some survivors (like spunky new widow Sienna Miller and her daughter) find shelter at a U.S. Army camp led by an achingly honorable lieutenant, played by Sam Worthington. Another story arc sees bounty hunters go in search of the Apaches who attacked the settlement, seeking profit and revenge.

“Horizon” also shows the internal divisions within the Apaches, with the chief's hothead son and new father (Owen Crow Shoe) ready to keep fighting. “Their sons will hunt you," the chief warns. “I won't sing for your victory today.” We learn that the white settlement violated agreements meant to calm the West.

Costner’s universe is both fatalistic and inevitable. Both sides may be right and wrong, but there will always be another round of savagery. “There's no one on Earth going to stop these wagons from coming,” an exasperated Army officer says at one point.

After an hour, Costner himself arrives, a quiet, strong loner who enters a Wyoming Territory settlement with the hope of a nice drink and some lady company and yet who leaves on the run, protecting a sex worker (Abbey Lee) and a boy in her care from psychotic horsemen who wish them harm.

Two hours into the movie comes another whole set of characters, with Costner's menu now completely out of whack. It's a wagon train led by Luke Wilson (never a cowboy, ever) who is facing some class issues — a well-off, oblivious couple are among the working-class muscle — and some Peeping Toms. It's all too much, but add to it a dash of anti-Chinese xenophobia, some budding romances and horrific scalping.

Director of photography J. Michael Muro doesn't romanticize anything, grinding the action in the smoke, heat and chicken-pecked dust of the West, so much so that you might taste grit in your teeth at some points. It helps that Costner has positioned everyone on the top of a picturesque hillside, showing off their profiles.

Part of the problem of “Chapter 1” is that in addition to overstuffing it with too many characters, the editing is pretty bad. Viewers will struggle with some violent cuts in which Costner has jumped the action forward months within the same chapter without any clues.

Yet Costner is still an impressive director with a eye for the natural beauty of the American West and a soft spot for loners. Yes, “Horizon: An American Saga — Chapter 1” is a huge swing that cannot really stand on its own. But we owe it to him to ride beside him a little more. Let's see if he can stick the landing.

“Horizon: An American Saga — Chapter 1,” a Warner Bros. release in theaters Friday, is rated R for “violence and some nudity and sexuality.” Running time: 180 minutes. One and a half stars out of four.

MPAA definition of R: Restricted. Under 17 requires accompanying parent or adult guardian.

Online: https://www.warnerbros.com/movies/horizon-an-american-saga-chapter-1

Mark Kennedy is at http://twitter.com/KennedyTwits

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The portable door, common sense media reviewers.

Ambitious fantasy adaptation has language, moments of peril.

A Lot or a Little?

What you will—and won't—find in this movie.

Have faith in yourself and your abilities. Curiosi

Paul is kind and curious about the world around hi

The main character is a White man, though the cast

Gruesome dream sequence of bones bending, teeth fa

Flirtation. Mention of affairs. A character shows

Infrequent language includes "s--t," "bloody," "he

Ian McEwan's book Atonement and Fortnum & Maso

Mention of pub. Later characters are seen drinking

Parents need to know that The Portable Door is a fantasy film, based on a YA novel of the same name, that will appeal to older children, teens, and adults alike. When Paul Carpenter (Patrick Gibson) starts an internship at a mysterious London firm run by crazed CEO Humphrey Wells (Christoph Waltz), Paul soon…

Positive Messages

Have faith in yourself and your abilities. Curiosity and courage are important strengths. Power can be used for good and bad. There is often more to things than meets the eye.

Positive Role Models

Paul is kind and curious about the world around him, though lacks self-confidence and has to dig deep to find the courage to do the right thing. Sophie comes across as arrogant and standoffish at first, but gradually drops her mask to show a caring, vulnerable, and fun-loving side. Humphrey reveals himself to be maniacal and bent on using his power for personal gain, though also reveals some past struggles that garner a level of sympathy.

Diverse Representations

The main character is a White man, though the cast shows some ethnic diversity in the prominent supporting cast, including actors of African, South Asian, and East Asian descent. Fellow intern Sophie is given complexity at the start, but quickly becomes little more than the love interest. Both the receptionist and room of female typists are dressed in 1950s-style costume, with a separate room of men doing manual labor, their roles adhering to gender stereotypes. While there are women higher up in the organization, it is the male characters that become most central to the plot.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Gruesome dream sequence of bones bending, teeth falling out, and ears expanding. Magic fireballs thrown, characters zapped by magic forces, objects thrown, and walls destroyed. Characters are pushed to the ground and descended upon by Goblins. Scary scenes in the dark with a Goblin chasing people. Jump scares, roars and screams heard, fires break out, a vivisected mouse is shown in a jar, a toaster explodes with sparks, and there is talk of signing away souls.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Flirtation. Mention of affairs. A character shows attraction to office supplies and licks a stapler seductively. Kisses on lips.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Infrequent language includes "s--t," "bloody," "hell," "git," "sod," "arse," "damn," and name-calling such as "greasy, pug-nosed parasite," and "lardy."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Ian McEwan's book Atonement and Fortnum & Mason are both mentioned. Magic abilities are discussed in terms of helping control the public for the sake of corporations, although this is reflected in a negative light. The movie is based on a series of YA books.

Drinking, Drugs & Smoking

Mention of pub. Later characters are seen drinking alcohol in a pub.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that The Portable Door is a fantasy film, based on a YA novel of the same name, that will appeal to older children, teens, and adults alike. When Paul Carpenter ( Patrick Gibson ) starts an internship at a mysterious London firm run by crazed CEO Humphrey Wells ( Christoph Waltz ), Paul soon discovers that all is not what it seems. There are some scary scenes involving magic fireballs and Goblins, and a dream sequence shows gruesome body distortions. There is mild flirtation and kisses on the lips, and characters drink alcohol in a pub on one occasion. Infrequent language includes "s--t," "arse," and "damn." Paul shows courage and curiosity, as well being kind and sensitive at times, which are great character strengths to see on-screen. Jim Henson Company puppets help bring the magical element alive, along with special effects, and the familiar territory makes this a safe if not wildly original bet for fantasy fans. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

Community Reviews

• Parents say (2)
• Kids say (2)

Based on 2 parent reviews

What's the Story?

In THE PORTABLE DOOR, Paul Carpenter ( Patrick Gibson ) and fellow intern Sophie Pettingel ( Sophie Wilde ) are recruited into a mysterious London company, where nothing is quite as it seems. Their experience opens the door to new worlds, but also pulls them into the secret plans of maniacal CEO Humphrey Wells ( Christoph Waltz ) to disrupt the world of magic for corporate gain.

Is It Any Good?

Based on a popular YA fantasy novel -- the first in a seven-part series by Tom Holt -- this fun but familiar movie finds its true magic in the impressive cast and stylish, beautifully-lit settings. While Gibson and Wilde hold the screen well, it's Waltz's maniacal Humphrey and Sam Neill 's oddly gleeful right-hand man Dennis who steal the limelight throughout The Portable Door . The distinctive flair of the Jim Henson Company really brings the magical creatures to life, and the stuffy, off-kilter sets give a sense of a corporate Hogwarts, just as full of secrets and nonsensical rules. Some moments of humor land better than others, and the plot itself gets a little tied up in its own enthusiasm at times. But this is an enjoyable, well-produced family fantasy that will have a wide appeal, if not quite the spark worthy of a future franchise.

Talk to Your Kids About ...

Families can talk about whether The Portable Door was scary or not. Did the fantasy elements reduce the impact? If so, why? How much scary stuff can young kids handle?

Paul showed curiosity , which helped him understand what was going on around him, and eventually courage to stand up for what's right. Why are these important life skills ? Can you think of times curiosity or courage has helped in your own life?

The film combined a familiar "real" world with fantasy elements. Can you think of other films that do this? How do they compare?

What motivated some of the characters? Did it remind you of any practices in the real world?

Talk about some of the language used. Did it seem necessary or excessive? What did it contribute to the movie?

Movie Details

• On DVD or streaming : April 7, 2023
• Cast : Patrick Gibson , Sophie Wilde , Christoph Waltz , Sam Neill
• Director : Jeffrey Walker
• Inclusion Information : Female actors, Black actors
• Studio : MGM+
• Genre : Fantasy
• Topics : Magic and Fantasy , Book Characters , Monsters, Ghosts, and Vampires
• Character Strengths : Courage , Curiosity
• Run time : 116 minutes
• MPAA rating : NR
• Last updated : May 13, 2023

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

Suggest an Update

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The Door (Review)

by Blacktooth Apr 30, 2015, 9:48 pm 0 Comments

Director – Patrick McBrearty (Bounty Hunters) Starring – Sam Kantor (Noah), Winny Clark (See No Evil), and Liv Collins (The Sublet) Release Date – 2014 Rating – 3/5

Tagline – “The job is very easy. It pays very well.  All you have to do is put on the uniform, sit in the chair, and never let it open”

Some films try to over-complicate things with detailed stories that have more twist and turns than a mountain highway.  Most want to confuse or disorient the viewer with brain-numbing twists and pointless story lines.  I prefer my horror straight forward and simple and if a twist is necessary I prefer when they are obvious and hit the viewer straight in the face.  Simple stories can pull off the twist if they make it subtle enough.

Recently, Black Fawn Distribution released the horror film The Door .  The story seemed simple enough and the artwork looked awesome so I reached out to my friends over at BFD and they were kind enough to hook me with a review copy.  Thanks guys!

His first night starts out well with nothing eventful going on but his girlfriend throws a wrench in the gears.  While he is at work his girlfriend is out partying with some friends and decide to take the party to him.  They show up at his work and he tries to make them leave but they hear someone say “help me” through the vents.  The young man, his girlfriend, and their friends open the door and unless what is hiding behind it.**Spoiler Alert**

Simple stories need simplistic twists.  If a film is a straight forward story then the viewer lets their guard down and may not focus on the film as intently as they usually would if they were watching a more detailed and complex film.   The Door was a simple story that flowed very well but did throw an unexpected twist (in a sense) that could confuse the viewer if they look away for a few moments or if you are drinking (like I did the first time I was watching this one).

The acting in this one is great by the entire cast.  They are all on the same level and show tremendous amounts of talent.  They all feed off each other on screen and that results in some amazing performances.

The story for this one is simple enough.  A young man watches a door for a presumed gangster and his curiosity gets the best of him and he opens it.  The film does throw a few things at the viewer in rapid succession which could confuse the viewer slightly if they are not paying close attention.  This happened to me.  I was drinking a bit and a few things sneaked up on me.

Finally, the film does have a few on screen kills but they are nothing spectacular.  We get a few stabs here and there and some dead bodies but not the carnage the blood and guts horror fans are looking for.  Overall, The Door is a solid horror film that has an amazing cast and a fun story that deserves your full attention.  Check it out but if you are looking for gore then remember you will not find it here.

(Staff Writer) Lover of all things horror and metal. Also likes boobs and booze.

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Austin butler’s ‘the bikeriders’ gets a digital streaming release date.

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Tom Hardy and Austin Butler in "The Bikeriders."

Tom Hardy, Austin Butler and Jodie Comer’s motorcycle drama The Bikeriders is coming soon to digital streaming.

A movie about the golden age of motorcycle clubs in the 1960s before gangs took over in the 1970s, The Bikeriders debuted in North American theaters on June 21. Written and directed by Jeff Nichols, The Bikeriders also stars Michael Shannon and The Walking Dead star Norman Reedus.

The Bikeriders is based on author and photographer Danny Lyon’s book of the same name. In the film, Lyon—played by Challengers star Mike Faist—interviews and takes photos of members of the Vandals Motorcycle Club out of Chicago. The film’s end credits are accompanied by photographs of some of the real-life people who were portrayed in the movie.

According to When to Stream , The Bikeriders will be released on digital streaming via premium video on demand on July 9. While the streaming tracker’s release announcements are typically accurate, the site noted that The Bikeriders PVOD debut has not yet been announced or confirmed by the film’s studio, Focus Features, so the date is subject to change.

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All three sites have The Bikeriders listed for pre-order for $24.99. Pre-order prices generally are for a film’s purchase on digital video, while digital rental fees are $5 less. As such, viewers can expect to rent The Bikeriders for $19.99 for a 48-hour period that begins once a customer starts watching a movie.

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According to The Numbers , The Bikeriders has made $13.82 million domestically and $3.8 million internationally for a $17.7 million worldwide tally to date.

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Someone's at the door

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‘The Big Door Prize’ Canceled By AppleTV+ After Two Seasons

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"The Door" 2014

I was pleasantly surprised by this one. I found it on Tubi. When watching there I give a movie a few minutes to catch my attention. If I'm bored, or figure I can guess the ending, I'll skip to about 12 minutes before the end to see if I'm right. Given the start of this movie (20somethings with hormones and alcohol), I was pretty sure I'd be done with it fairly quickly.

However, about ten minutes in I realize I'm actually engaged and watching. This surprises me because we're just staring at a door. Literally. It's just a door. But there's something about the movie that keeps me watching.

Now, most of the horror I find on Tubi is trash. It's just really, really bad. But this one was pretty good. The acting was a bit clunky in places, there were a couple of "you're not saying what needs to be said to save you all some trouble" moments and the middle could be tightened up some but if you want a tense watch with some "is it a monster or is it us?" thrown in, give "The Door" (2014) a try.

I looked for reviews online and the few there are are mixed. I strongly disagree with the reviewer who said the phantom was poorly portrayed and the supernatural elements were weak. But that's because I think they have the wrong take. I think they should watch it again with the idea that maybe there isn't a phantom...

Has anyone else seen it? What did you think?

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Film review: the door (2014).

Rio 12/05/2018 Film Reviews

Three happy couples enjoy the holidays in a cozy secluded cabin in the woods when they are suddenly interrupted by an unprecedented event that will forever change their lives.

If a strange man offers you a cushy job with mad pay, and all you have to do is not ask any questions, would you take it?

The businessman offers Owen a fat wad of cash, which he reluctantly takes. Then Owen is ofered the aforementioned job. He is to show up at an address that night, no questions asked, and start work immediately.

When Owen arrives, He finds that the job is in a warehouse-style building in the middle of nowhere. He is handed a security uniform and told that he must gaurd a door. A non descript, plain old door. He is not to open it under any circumstances. 500 dollars a night, 12 hour shift, and that’s the job. Sounds simple, right?

Later that night, Two security guys show up with a delivery. The businessman calls with a series of complicated instructions on how to open the door. Really complicated instructions. One of these is that the men must not be back there for more than a minute. If they are, Owen is never to open the door again.

Confused and not just a little freaked out,Owen isn’t so sure he wants the job anymore. The businessman offers to send a replacement gaurd for the rest of the shift with the promise that he and Owen will discuss the job in the morning. Owen agrees, and the businessman tells him the replacement will be there in an hour.

Then Owen’s girlfriend and her friends decide to ditch the birthday party and bring the party to Owen. They are very trashed, and it’s a miracle they even made it there. Owen’s first day on the job is not going very well.

Of course, Owen’s friends are really curious about the door. Fortunately for him, the complicated series of steps required to open it means none of the drunks can randomly pull the damn thing open. Disaster averted, right?

No. Not at all. Voices start coming from a vent saying “help me”. The vent appears to be attached to the space behind the door. Meanwhile, one of the girls, Mia (Jessie Yang), decides to snatch the key and disappears, apparently behind the door. Oh, and by the time they realize what she’s done, she’s apparently been in there for at least 3 minutes. Nice one, drunk girl.

So what do you do? They go in after her and then…well, let’s just say that’s where everything gets really weird.

I can’t go into too much beyond that without giving spoilers, other than to say that it’s all about the world behind that damn door. Strange things start to happen. Very strange things. It becomes clear why a gaurd is needed. What isn’t clear is what exactly the gaurd is gaurding, and if the job is to keep people out or keep something in.

It’s an interesting concept, similiar in atmosphere to those creepy surreal Asian horror films that are all the rage right now. This is a Candian film, however, and doesn’t quite reach that level of awesome. But like a lot of horror productions from Canada, it does achieve a sufficient level of WTF to keep it interesting. It also has a fairly short run time (just over an hour) which helps keep the film from getting drudgy.

To be honest, other than a few choice dirty words, it feels like an episode of Goosebumps or a walk through a really cheap haunted house. Very little gore. No special effects, other than lighting tricks and clever editing. Just our characters carrying the story through their reactions to the weirdness, which is not necessarily a bad thing.

writer/director Patrick McBreaty has only two other films to his credit – Bounty Hunters and Psycho Ward. I have not seen either. He does a good job on this film, as the dialogue is very believeable and visually there are some very interesting things going on.

Cinematographer Joshua Fraiman did some really good work here. From his IMDB listing, it appears his experience is in children’s productions mainly. Perhaps that is why I get that RL Stine vibe from this one. It looks good, though. Nice use of light and the framing is effective to the storytelling.

As for our cast, Sam Kantor (Owen) has only one other production credited to him. For an actor with very little experience, he does a really admirable job playing the poor sap.

In fact, most of our principle cast have next to nothing in the way of credits, with the exception of Mia, played by Jessie Yang. She was a contestant (and I’m geussing a winner)on Asia’s Next top Model. She is in the film very little, But her scenes are definately memorable.

The Japenese business man Mike, played by Brian McDonald, is also a first timer. Again, not in the film very much but he does a really good job when he is there.

On the whole, I didn’t hate it. Even with the relatively short run time, I feel a bit could have been shaved off just to keep things moving. And with the exception of some choice F bombs, you could probably show this film to a pre-teen audience. There was real potential for this to be something gruesome and more appropiate for an adult audience, and they just didn’t come up to that potential.

So on a scale of one to ten, being awesome, I’m giving this film 5 keys.

Tags Alys Crocker Bela Kruglics Liv Collins McKenzie Malcolm Patrick McBrearty Sam Kantor The Door Winny Clarke

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The Door (IV) (2014)

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New movies this weekend: Watch R-rated comedy 'Joy Ride,' freaky 'Insidious: The Red Door'

Harrison Ford's Indiana Jones came back to theaters a week ago, and Tom Cruise's next "Mission: Impossible" arrives Wednesday, so why not cleanse your action-movie palate with some laughs and a few scares?

This weekend, "Emily in Paris" breakout Ashley Park heads up a hard-R road-trip comedy about four Asian American friends on a wild time in China while Patrick Wilson stars in the fifth movie in the "Insidious" horror franchise, making his directorial debut as he wraps up the freaky family saga. In addition, Sterling K. Brown and Mark Duplass play the last two dudes on Earth in a sci-fi comedy, and a pair of new documentaries center on the 1980s pop duo Wham! and the Negro baseball leagues.

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If you love movies about slap fights, tattooed genitalia and good friends: 'Joy Ride'

Park stars as a lawyer who was adopted from China by a white couple when she was little and decides to try to find her birth mother on a business trip to Beijing with her artsy best friend Lolo (Sherry Cola). However, with Lolo's eccentric cousin Deadeye (Sabrina Wu) and Audrey's actress college pal (Stephanie Hsu) in tow, a simple road trip turns into an increasingly bonkers series of misadventures when the quartet runs afoul of a jittery drug dealer, meets ex-NBA star Baron Davis and becomes a faux K-pop group in one of the year's best comedies.

Where to watch: In theaters

'Joy Ride': Ashley Park takes the wheel in this summer's wildest R-rated movie

If you dig a horror flick that tackles mental health and awesome scares: 'Insidious: The Red Door'

Wilson rounds up his fellow stars from the original 2010 "Insidious" for the fifth film, which finds haunted dad Josh (Wilson) and his now-estranged college-age son Dalton (Ty Simpkins) having to venture back into the frightening realm of The Further. Nine years after being hypnotized to forget their disturbing experiences there, they both encounter dark visions of tortured souls (and the Lipstick-Face Demon!) but have to find a way to reconnect in a rather insightful outing about dealing with your past traumas in the present rather than ignoring them.

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If you dig buddy comedies and end-of-the-world narratives: 'Biosphere'

After an apocalyptic situation that has wiped out everyone but them, Ray (Brown) and Billy (Duplass) are best buds living in a biosphere who have odd conversations about Mario and Luigi, struggle to keep their fish alive and wonder about the green light coming closer to them every day. But a new concern neither of them was expecting arises when evolution throws them quite a curve ball in debuting director Mel Eslyn's clever character study about sexuality, masculinity and friendship.

Where to watch: In theaters and on Apple TV , Vudu , Amazon

If you're a Pierce Brosnan completist: 'The Out-Laws'

Straitlaced bank manager Owen (Adam Devine) is getting ready to marry his fiancee (Nina Dobrev), and on the way to the big day, he gets robbed by the infamous Ghost Bandits. But the holdup just happens to coincide with the arrival of his mysterious future in-laws (Brosnan and Ellen Barkin) he has never met. Shenanigans ensue when Owen (rightly) assumes they're the culprits, though a hard-nosed cop (Michael Rooker) thinks it's him, and circumstances lead Owen to go to extremes for his sweetie in this criminally predictable comedy.

Where to watch: Netflix

If you still can't get 'Careless Whisper' out of your head: 'Wham!'

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If you're a fan of baseball history: 'The League'

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Also on streaming:

• " Guardians of the Galaxy Vol. 3 ," the concluding chapter of James Gunn's cosmic Marvel trilogy starring Chris Pratt and Dave Bautista, is available to buy Friday on Apple TV , Vudu and Google Play .
• Director Tim Story's horror satire "The Blackening," about a reunion of Black friends that turns into a scary and hilarious quest to avoid a masked slasher, arrives Friday to buy on Apple TV and other on-demand platforms.
• The sci-fi action thriller "65," featuring Adam Driver as a pilot who crash-lands on Earth 65 million years ago and has to deal with dinosaurs, premieres on Netflix Saturday.