Knock Knock review: Whilst not as intense as the movies that inspired it, Knock Knock is an enjoyable, entertaining, if not somewhat infuriating, stab at the home invasion torment genre.
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Perpetually cast as a bachelor, Reeves struggles during the opening moments of Knock Knock to convincingly play the husband and father role of Evan. His acting is a little hammy and over-the-top, and doesn’t feel all that natural. Thankfully this only lasts through the opening sequence, as soon enough Evan is left home alone so that he can get some work done.
Once on his own Reeves is back in his comfort zone as he channels a bumbling Hugh Grant for his first encounter with his unexpected houseguests. Those with common sense and family values will find Evan’s actions uncomfortable, much like those of us who are screaming for the final girl in a horror film to turn on the bloody light. As thing progress Reeves clearly starts to loosen up and enjoy himself, but in the cold light of day he realises the consequences of his actions.
Izzo, director Roth’s real-life younger bride, and De Armas, sizzle as Genesis and Bel, and to some degree you can’t fault Evan for succumbing to their advances. These women aren’t the archetypal vengeful women either; they aren’t after Evan because he spurred them, but rather because he didn’t. Genesis and Bel are the ultimate completely crazy honey trap. There is a glimpse into an explanation about Bel’s background and reasons for her actions, but Genesis, the more level-headed of the duo, is much more enigmatic and creepier for it.
Based on the 1977 film Death Games, and starring original cast member Colleen Camp in a minor role, Knock Knock plays part Funny Games, part Hard Candy. Genesis and Bel are clearly the soul mates of Peter and Paul, the pair having an equally insatiable appetite for destruction of property. They don’t quite have the intelligent finesse as their predecessors though, favouring games of dress-up and graffiti tagging everything in their eye-line with phallic symbols.
Those familiar with Roth’s previous directorial offerings Cabin Fever, Hostel and The Green Inferno may be disheartened to know that despite it’s 18 certificate Knock Knock isn’t the usual gore fest. Instead it’s much more of a psychological cat and mouse game, where the cats are sadistic sirens and the mouse is in a mid-life crisis. There is still Roth’s odd stab at humour segwayed into several scenes that do bring in the laughs, but in doing so detract from the tense tone that Knock Knock should be aiming for.
A cautionary tale to men, warning of the dangers of cheating on family life, Knock Knock goes to extremes to showcase just how badly things can spiral out of control after one brief lapse of judgement. Whilst not as intense as the movies that inspired it, Knock Knock is an enjoyable, entertaining, if not somewhat infuriating, stab at the home invasion torment genre.
Knock Knock is out in UK cinemas now.
