What was that ending all about? You wait and wait for something to finally happen, something that will make half-way any sense, something that will connect the rather flimsy-looking dots into something at least resembling logic but then... So the cop's wife is the killer? Did she beat the child? If so, who wounded her own arms? Herself? Did she and her cop husband both beat the girl? (Perhaps the director and the scriptwriter joined them in the beating...) Did the cop and his wife both beat on the girl, and then each other - and then themselves? (I gotta keep my mind open for all possible ludicrous combinations when it comes to TE.) Why would the ghosts of the mother and the daughter kill all those people? <br /><br />Once again ghosts are just some violent, confused imbeciles who go around killing the wrong people. One would presume that ghosts, having nothing better to do all day than sit/stand around hallways staring into empty space, would have ample time to figure things out, i.e. who their friends and foes are. But no... Average horror-film's ghost's IQ: 15 point 3.<br /><br />The ghosts display the ability to haunt outside their natural habitat by hassling Bobby's girlfriend, played by the beautiful Amelia Warner. So why didn't they use those abilities to get revenge on the old man who lives across the street, who failed to call for help when he saw that something was happening? Not much makes sense in this slow-moving, garbled ghost flick.<br /><br />Bobby's girlfriend arrives to his flat TWICE unannounced. What kind of people visit others without calling them first? Was this the pre-mobile-phone 18th century age? His boss does this also, once. How very convenient. What a nice little plot-device.<br /><br />No-one tells anybody anything, every conversation is about trivialities which, again, conveniently creates opportunities for the dimwitted ghosts to take advantage of various situations, over and over. And here I thought it was Bergman's asinine dramas that revolved around a lack of communication...