Cellar Door // De Vaughn Stein. Avec Jordana Brewster, Scott Speedman et Laurence Fishburne.
I like films that take the time to build an atmosphere, those that prefer a gradual build of tension to lead to a gripping denouement. Unfortunately, Cellar Door embodies the epitome of what happens when a film opts for slow development without offering any real reward at the end of the journey. This thriller, which seemed to promise a mysterious and distressing atmosphere, ends up sinking into a disappointing inertia, without providing the slightest revelation or significant surprise. From the first minutes, Cellar Door captures attention with an intriguing concept and a context that gives hope for growing suspense. The film is based on a simple principle: don’t open the cellar door.
A couple seeks a fresh start away from the city. They receive an offer they can’t refuse: the house of their dreams. However, there is one mysterious and unyielding condition: they must never open the cellar door!
This principle, repetitive and omnipresent in the plot, could have been the common thread of a nervous and captivating tension, pushing the spectators to wonder what is hidden behind this mysterious door. However, instead of serving as a catalyst for breathtaking suspense, this ban never becomes a real threat, and it gradually loses its impact, leaving spectators perplexed by a scenario without dramatic spring. One of the major weaknesses of Cellar Door lies in a storyline devoid of depth and creativity. The film struggles to explore new themes or elements and is content to unfold explanatory dialogues, which detract from the build-up of tension. The viewer is drowned in banal and repetitive exchanges, which contribute neither to reinforcing the mystery nor to advancing the story.
It’s rare for a film of this genre to rely so heavily on exposition at the expense of action and angst, making the pace slow and unexciting. The script’s lack of ambition also results in lackluster performances from the main actors, incapable of transcending the text to bring endearing or memorable characters to life. Despite this generalized inertia, one exception deserves to be highlighted: Laurence Fishburne. His performance brings a touch of energy and charisma to a film that is sorely lacking. Fishburne manages to captivate attention during each of his appearances on screen, breathing a little relief into a narrative universe which is largely devoid of it. Yet despite his presence, the actor alone cannot compensate for the film’s structural and emotional shortcomings. His performance is like a sliver in the darkness, ephemeral and unfortunately insufficient to change the situation.
Cellar Door seems to want to invite spectators to draw their own conclusions, to fill in the gaps left by a plot that is stingy with answers. It is likely that the director wanted to rely on ambiguity to spark discussions, allowing everyone to imagine what this famous door really hides. However, the lack of narrative engagement makes the experience less intriguing than it could have been. For a film to leave room for interpretation, it must first captivate its audience, arouse a curiosity that persists even after the end credits. Here, for lack of a sufficiently gripping immersion, this interpretative openness is transformed into a simple feeling of unfinished business, as if the film had lacked respect for the spectator by leaving him with more questions than pleasure.
At the end of the day, Cellar Door disappoints with its lack of depth and inability to maintain attention. What could have been an oppressive and mysterious psychological thriller becomes a tasteless story, which follows the rules of the genre without infusing it with the necessary soul. The initial idea, full of potential, is spoiled by a monotonous and predictable development, which never manages to create real tension. What should be an exploration of human fears, a journey into the heart of the unknown, turns out to be a simple stroll through familiar territory, without danger or surprises. In conclusion, Cellar Door had all the cards in hand to become a nice film in the psychological thriller register, but it insists on remaining on the surface. Fans of original and immersive thrillers risk coming away disappointed by this experience which promises a lot without ever delivering on its promises. If we accept the slowness of a film, it is in the hope of being carried away by an increasing intensity or a powerful finale.
Note : 3/10. In short, slowness only leads to a form of weariness, leaving spectators hungry and with the impression of having witnessed a missed opportunity.
Coming soon in France
