until it could find another vessel. Vera returns to her home, where she is assaulted by a demonic force that throws her through a window to fall two stories. Vera wakes up in a hospital; she has been in a coma for eight months. The doctor tells her she was pregnant when it happened. During her ultrasound, Vera sees a demonic face on the monitor and demands an immediate C-section. Six years later, Vera visits her daughter, who has been adopted by another woman. Vera tells the girl that she knows who the little girl really is and demands to know why she was chosen. The girl flees. Vera chases her to an abandoned house in the woods and attempts to kill her. Unable to do so, Vera leaves, taking her daughter with her. Cast Naya Rivera as Vera Catalina Sandino Moreno as Leigh Ashley Rickards as Hannah Ava Acres as Girl Michael Massee as Uncle Mike Wyatt Russell as Sam Nick Eversman as Calvin Tara Buck as Yolanda Bresha Webb as Becky Olivia Crocicchia as Charlene Jennifer Aspen as Lori Daniel Roebuck as Chuck Arshad Aslam as Seth Rob Brownstein as Dr. Daninsky Laura Kai Chen as Dr. Kim Assaf Cohen as Dr. Aranda Kent Faulcon as Davis Kate Flannery as Rosemary Shaun O'Hagan as Mark Steger as Thin Man Kelsey Heller as Young Lori Production Plans to film At the Devil's Door were first announced in 2012 under the title Home, shortly after the release of McCarthy's 2012 directorial debut The Pact. Filming was completed in January 2013. Reception Rotten Tomatoes, a review aggregator, reports that 43% of 23 surveyed critics gave the film a positive review; the average rating was 6.08/10. The website's critics consensus reads: "At the Devil's Door has no shortage of creepy style -- unfortunately, that isn't enough to distract from an uninspired story that never capitalizes on its potential." Metacritic gave it a weighted average score of 47 out of 100, based on 8 critics, indicating "mixed or average reviews". Writing in Variety, Dennis Harvey stopped short of recommending the film, but praised some aspects of it, stating, "Though disappointing content-wise, McCarthy’s sophomore feature still demonstrates admirable attention to things that usually suffer in more superficially flashy horror efforts, notably credible real-world backgrounding (the nondescript Southern California locations suggest a middle class slipping haplessly toward poverty), naturalistic perfs, and habit of favoring creepy