CELLAR DOOR

(director: Vaughn Stein; screenwriters: story by Sam Scott, Sam Scott, Lori Evans; cinematographer: Michael Merriman; editors: Alex Marquez, L.B. Brodie; music: Marlon Espino; cast: Jordana Brewster (Sera), Scott Speedman (John), Laurence Fishburne (Emmett), Addison Timlin (Alyssa), Chris Conner (Paul MacManus), Katie O’Grady (Kathryn Conrad), Randy Sean Schulman (Steven); Runtime: 97; MPAA Rating: R; producers: Tom Butterfield, John Papsidera, Craig Perry, Sheila Hanahan; Lionsgate; 2024)

“Inane psychological thriller.”

Reviewed by Dennis Schwartz

Vaughn Stein (“Inheritance “/”Terminal”) directs this inane psychological thriller with a diverting premise. It’s based on a story by Sam Scott, that he co-writes with Lori Evans. The title refers to secrets buried beneath a recently purchased house.


John (Scott Speedman) and Sera (Jordana Brewster) are a young couple from Portland who seek a new place to live in the suburbs after Sera has a miscarriage. They are unable to find an affordable place to raise a family, that is, until they finally get an incredible offer to get a stone mansion for free from a mysterious well-connected benefactor named Emmett (Laurence Fishburne), with the caveat that they can’t open the cellar door.

Even though curiosity gets the better of them, they still don’t open the cellar door.

Sera returns to teaching math in college. While John stays home because he can’t return to work in his city architectural firm because he’s under investigation for sexual harassment after accused by his jealous ex-girlfriend Alyssa (Addison Timlin). His wife is unaware of this.

At their housewarming party Alyssa pays a surprise visit. It turns out John is still screwing his ex. Also turning up is an unhappy previous tenant (Chris Conner), who threatens to set the place on fire.

Things become murky when Alyssa goes missing, and we learn that a long time ago the Claybourne family also went missing.
 
This subplot becomes the gist of the film.

But, in the end, the film leaves us with too many unanswered questions until attempted to be resolved in a strained melodramatic fashion, that leaves the poor viewer with too many unanswered questions to ponder.

There’s nothing special about the direction, the story, the acting or the music. But I thought the slick cinematography was very good.

It’s a bungled and limp thriller, trying but failing to say something meaningful about trust in a relationship.

REVIEWED ON 11/14/2024  GRADE: C
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