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Knock Knock

A devoted husband and father helps two stranded young women who knock on his door, but his kind gesture turns into a dangerous seduction and a deadly game of cat and mouse. A devoted husband and father helps two stranded young women who knock on his door, but his kind gesture turns into a dangerous seduction and a deadly game of cat and mouse. A devoted husband and father helps two stranded young women who knock on his door, but his kind gesture turns into a dangerous seduction and a deadly game of cat and mouse.

Nicolás López
Guillermo Amoedo
Keanu Reeves
Lorenza Izzo
Ana de Armas
1K User reviews
225 Critic reviews
53 Metascore

Top cast 10

Evan Webber

Uber Driver
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Production, box office & more at IMDbPro

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Trivia Keanu Reeves said that it was very awkward making the sex scene in the film and seeing Lorenza Izzo naked in several scenes in it, since she was director Eli Roth 's wife at the time.
Goofs In the film's closing credits, when the list of music used in it is shown, the song by KISS is listed as "Detroit City Rock." Actually, it is titled "Detroit Rock City."

Evan Webber : Death? Death? You're gonna kill me? You're gonna fucking kill me? Why? WHY? Because I fucked you? You fucked me! You fucked ME! You came to MY house! You came to ME! I got you a car, I brought you your clothes, you took a fuckin' BUBBLE BATH! You wanted it! You wanted it! You came on to me! What was I supposed to do? You sucked my cock, you both fucking sucked my cock! It was FREE PIZZA! Free fuckin' pizza! It just shows up at my fuckin' door! What am I supposed to do? "We're flight attendants. Come on, fuck us! No one will know. Come on, fuck us!" Oh, twosomes, threesomes. It doesn't matter! Starfish! Husbands! You don't give a fuck, you'll just fuck anything, you'll just fuck anything! Well, you lied to me, I tried to help you! I let you in, I was a good guy, I'm a good father! And you just fucking fucked me! What? Now, you're gonna kill me? You're gonna kill me? Why? Why? 'Cause you fucked me? What the fuck-FUCK-FUCK, this is fucking insane!

Connections Edited into Diminishing Returns: Keanuvember: John Wick (2021)
Soundtracks Winter Nights Composed by Jeronimo Hill Performed by Goyele Courtesy of IA Music

User reviews 1K

IonicBreezeMachine
Mar 26, 2021
What is the real life address of the house in the movie?
October 9, 2015 (United States)
United States
Official Facebook
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Lado oscuro del deseo
Chicureo, Region Metropolitana, Chile (House)
Dragonfly Entertainment
See more company credits at IMDbPro
$2,500,000 (estimated)
Oct 11, 2015

Technical specs

Runtime 1 hour 39 minutes

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Knock Knock Reviews

Obviously, the character abuse doesn’t just reflect the physical abuse of Chilean workers, as it’s physical too — almost as if the filmmakers were conscious of what they were doing to our cinema.

Full Review | Dec 1, 2023

Roth's lowest-common-denominator approach reduces a primal, campy idea into nothing more than a dull homage to an exploitation flick.

Full Review | Original Score: 2/4 | May 12, 2022

...sonically tortured by techno and stabbed with a fork, Reeves is game for the kitsch carnage that ensues.

Full Review | Original Score: 3.5/5 | Jun 7, 2021

it does leave you hanging there but if you like a guilty pleasure... this is definitely it.

Full Review | Original Score: 7/10 | May 19, 2021

Knock Knock begins with a sinister, sexy premise, but its tonal inconsistency and misguided direction never quite let the film find its feet.

Full Review | Nov 6, 2020

Knock Knock tries its hardest to freak us out but ultimately doesn't quite go far enough.

Full Review | Original Score: 5/10 | Sep 26, 2019

Roth modernises 1977's Death Game, giving the latest generation a home invasion film with plenty of sharp teeth and even one sassy, satirical tongue.

Full Review | Original Score: 4/5 | May 7, 2019

Despite the lack of gore for horror hounds are used to from Roth's previous work; there is no doubt a maturing happening with the projects he attaches himself to. Knock Knock delivers the sexy-psycho thriller it intends.

Full Review | Aug 24, 2018

Up until this point, Eli Roth's films have been synonymous with gore and torture, which makes it all the more surprising that Knock Knock is now his best film and contains little to none

Full Review | Original Score: 3/5 | Dec 3, 2017

As provocative as it is polarizing and sickly perverse, the film stirs the pot with its portrait of marital malaise and Millennial entitlement.

Full Review | Original Score: 3.5/5 | Nov 5, 2017

...it's ultimately impossible not to wonder what drew Reeves to such misguided, puerile material.

Full Review | Original Score: .5/4 | Oct 8, 2016

Although Keanu Reeves has never been noted for his subtlety as a thespian, his performance as a captive husband in Knock Knock could easily be bettered by a stationary object like a chair.

Full Review | Original Score: 1.5/5 | Apr 6, 2016

The movie sits atop three characters that neither Reeves, de Armas nor Lizzo can give enough personality or strength, making for laughable, cartoonish moments. [Full Review in Spanish]

Full Review | Original Score: 2/5 | Apr 5, 2016

The direction and script fail hopelessly to build up any tension, the dialogue is pretty witless and the acting is, at very best, variable.

Full Review | Original Score: 1/5 | Mar 7, 2016

Intriguing spin on home-invasion thriller ... Slickly produced, energetically played, especially by Reeves as the good husband who, when home alone, falls prey to kinky temptations.

Full Review | Original Score: 3/4 | Mar 4, 2016

Unlike most of his previous films, Eli Roth subtly goes for the jugular with Knock Knock, building to a finale brimming with surreal tension and a wickedly dark sense of humor that left me both cringing and laughing.

Full Review | Original Score: 3.5/5 | Jan 6, 2016

Another sub-par effort from director Eli Roth, who finally breaks out of his xenophobia, but sadly for a pretty abysmal thriller.

Full Review | Nov 19, 2015

Knock Knock, which is about two women wreaking havoc on a married man, aspires to be titillating. But more than anything, both persistently, persuasively angle to make you angry.

Full Review | Nov 9, 2015

It's ultimately more interested in being lurid than provocative.

Full Review | Nov 6, 2015

The morality here is biblical but also blackly comical; it demands punishment without mercy for the infractions of faithlessness and lust.

Full Review | Original Score: 2.5/4 | Nov 4, 2015

Flickering Myth

Geek Culture | Movies, TV, Comic Books & Video Games

Movie Review – Knock Knock (2015)

December 10, 2020 by Robert Kojder

Knock Knock , 2015.

Directed by Eli Roth. Starring Keanu Reeves, Lorenza Izzo, and Ana de Armas.

When a devoted husband and father is left home alone for the weekend, two stranded young women unexpectedly knock on his door for help. What starts out as a kind gesture results in a dangerous seduction and a deadly game of cat and mouse.

Up until this point, Eli Roth’s films have been synonymous with gore and torture, which makes it all the more surprising that Knock Knock is now his best film and contains little to none. There genuinely came a point where all I thought the auteur is capable of was pointing a camera somewhere and showing someone get mutilated, usually as a social satire statement. Once again, I am so glad to be wrong.

The premise of Knock Knock is simple; a loving family man and architect is stuck at home during Father’s Day weekend to finish up some work while his wife and kids vacation at their beach house. Nearing 1AM, two smoking hot ladies show up to his front door with their clothes drenched in a downpour of rain, abandoned by their cab driver, unsure of the whereabouts of their intended destination, cell phone busted due to the rain; pretty much everything that could go wrong has gone wrong. This sort of becomes a fantasy for Evan (Keanu Reeves) however as the woman soon begin bonding with them, flirting, and eventually becoming openly sexual.

Naturally, Evan succumbs to the temptation despite trying to thwart their lustful advances (duh, otherwise you wouldn’t have a movie), but it’s where Knock Knock goes that shifts it into a sick, twisted extended prank full of mental torture for the ages. It’s tough to explain why without delving into spoilers, so I’ll just say that Eli Roth is sick in the head and I love him for it.

What I can mention is how absolutely awful and hilarious Keanu Reeves is at delivering literally almost every single line. There is a point towards the end of the film where he goes on a straight up rant seemingly attempting to take the crown of most unintentionally hilarious moment from Nicolas Cage and his infamous “NOT THE BEES” scene in the remake of The Wicker Man .

There is also something deliriously satisfying in watching Keanu Reeves, who was legitimately depressed for years and took a break from acting after his wife died of leukaemia, taking on this role of the family man that makes one mistake. I sincerely wonder if, even though as silly and dementedly off-the-wall this movie is, some of it was challenging getting into the right mindset for, especially the sex scene where he essentially seals his adultery.

It also feels like Eli Roth is gleefully having fun with having these beautiful woman absolutely wreck the life of a great person. The movie seems to imply that even the best guys are capable of giving into temptation, so what better casting than Keanu Reeves?

Knock Knock admittedly isn’t for everyone though; it almost takes pride in being stupid. That’s probably because it is out to make you laugh more than anything. Keanu Reeves is honestly a pretty bad actor but here, the awkward tonal delivery is amplified by 10 and you can bet your ass it’s intentional. Being a black comedy isn’t the only thing that will turn away viewers though, because some of it is frankly just disgusting.

It’s almost as if Eli Roth was dared to achieve the same shock value levels of his previous films, but without any bloodshed, instead taking the psychological route. Some will dig it anxiously awaiting what’s next, while some will be repulsed, and Eli Roth knows this. He’s putting out movies geared towards niche moviegoers, which is honestly a good thing.

The movie also doesn’t really go anywhere satirically. Every once in a while Eli Roth attempts to make a point about adultery, and some other things I again don’t want to spoil, but he’s having way too much fun with his devilish girls and tortured husband to dig too far deep into those areas.

It’s somewhat of a shame considering as entertaining as Knock Knock is, it could have been something more provocative alongside its sinister material, but for now we just have to settle for the hell of a ride it is. On another note, the ending is a little anti-climactic, not feeling like it ends where it should. The final line is quite amusing, but the movie doesn’t offer up enough closure.

Knock Knock also makes a convincing case that Keanu Reeves and Nicolas Cage should team up for some sort of buddy cop paranormal investigations film full of campy dialogue. Then again, such an awesome thing might tear a hole through the universe with its awesomeness. For now, just watch Eli Roth’s Knock Knock and revel in its darkly humorous madness.

Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★ ★

Robert Kojder – An aficionado of film, wrestling, and gaming. Follow me on Twitter or friend me on Facebook

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Sundance Film Review: ‘Knock Knock’

Eli Roth entertainingly updates a '70s exploitation film with better acting and new technology.

By Ben Kenigsberg

Ben Kenigsberg

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Keanu Reeves ‘ whiny monologue comparing an act of infidelity to “free pizza” is a moment that seems destined for cult canonization in “ Knock Knock ,” Eli Roth ‘s glossy and reasonably fun update of Peter Traynor’s 1977 exploitation movie “Death Game.” The original film isn’t credited as the source of the screenplay, but this is, by any reasonable definition, a remake, faithfully preserving most of the first movie’s plot beats while adding better acting, Uber and FaceTime. (One of the stars of “Death Game,” Colleen Camp, has a small role and serves as producer; her co-star Sondra Locke and Traynor get exec producer credits.) Modest commercial results seem possible; “Knock Knock” will probably go down as the better of the two home-invasion films, not least because Reeves makes a better punching bag than Seymour Cassel.

A look back to the Manson murders and a look forward to “Funny Games,” “Death Game” finds Cassel’s home-alone family man besieged by two hippie chicks (Locke and Camp) who claim to have gotten lost on their way to a party. At first, they merely seem like they’re in no hurry to leave, but after he sleeps with them, they reveal a more sinister agenda.

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Roth drops that film’s irritating theme song, stretches out the suspense of the setup, creates some smart plot possibilities using new technology, improves the ending, and in general adds elegance to what was a cheap-looking production. (The available DVD, at least, is piss-poor.) It’s also nice to see the “Hostel” and “Cabin Fever” director ditching grossout tactics and working in a mode where the primary horror is psychological. Although no film in which two women play “monkey in the middle” with a man’s inhaler can quite be called mature, “Knock Knock” marks a step in that direction.

Popular on Variety

Reeves is Evan, an architect who, as he’s introduced, is about to have sex with his artist wife, Karen (Ignacia Allamand), when his children burst in to wish him a happy Father’s Day. Awww. Karen and the kids soon depart for the beach. Enter Bel (Ana de Armas) and Genesis (Lorenza Izzo, aka Mrs. Roth), dripping wet from a dark and stormy night. Roth and his co-screenwriters tease out the flirtation more patiently than Traynor did. The women flatter Evan, pretending he’s younger than he is and taking advantage of his nostalgia for his past as a DJ. He puts up a bit more resistance to his visitors’ sexual overtures than Cassel’s character did, and there are amusingly preposterous explanations for why they can’t leave just yet.

But he gives in, letting the Uber cab he’s ordered drive off while the three of them have sex. (Roth somehow makes this absurd menage a trois even more decadent by shooting some of it through fogged shower glass.) Starting the next morning, the women reveal their inner ids, making a mess of Evan’s kitchen and defacing Karen’s artwork. This is the punishment for homewreckers, it seems. The economical, satisfyingly nasty scenario would be nothing without Izzo and De Armas, who — in addition to having the staggering good looks the plot requires — play off each other with ace comic timing and palpable menace. At one point, they tie Evan up and make him the contestant on a pretend gameshow, torturing him with loud music. Reeves, enduring constant abuse (and jokes at the expense of his hair), is a great sport.

Confined mostly to one well-appointed house, the film makes bold use of interior design, as Roth glides his camera through the space and exploits the expressionist possibilities of Venetian blinds and beading storm water on windows. When the characters go outside — Santiago, Chile, subs for California — credulity is strained.

Tech contributions do a lot with a little.

Reviewed at Sundance Film Festival (Park City at Midnight), Jan. 23, 2015. Running time: 99 MIN.

Production: A Voltage Pictures presentation of a Dragonfly, Sobras Intl. Pictures, Camp Grey production in association with Elevated Films and Black Bear Pictures. (International sales: Voltage Pictures, Los Angeles.) Produced by Eli Roth, Nicolas Lopez, Miguel Asensio Llamas, Colleen Camp, Cassian Elwes, Tim Degraye. Executive producers, Keanu Reeves, Teddy Schwarzman, Sondra Locke, Peter Traynor.
Crew: Directed by Eli Roth. Screenplay, Eli Roth, Nicolas Lopez, Guillermo Amoedo. Camera (color, widescreen, HD), Antonio Quercia; editor, Diego Macho Gomez; music, Manuel Riveiro; production designer, Marichi Palacios; art director, Fernando Ale; costume designer, Elisa Hormazabal; sound, Mauricio Molina; visual effects, Rodrigo Rojas Echaiz; casting, Sheila Jaffe.
With: Keanu Reeves, Lorenza Izzo, Ana de Armas, Aaron Burns, Ignacia Allamand, Colleen Camp.

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'Knock Knock': EW review

Like its title, the set-up of Eli Roth’s Knock Knock feels like a joke, albeit an enticingly sick one. Keanu Reeves, fresh off the career-resuscitating action flick John Wick , plays a happily married architect whose wife and kids head off to the beach for the weekend, leaving him all alone in his sleek, glass-and-steel modern home somewhere in or around Los Angeles. With some sorely-needed me-time on tap and a storm approaching, he puts on some vintage Kiss records, cracks open a bottle of red, and is about to spark up some recreational reefer when there’s a knock at his door.

Knock knock… who’s there? It turns out to be two gorgeous young women (Lorenza Izzo and Ana de Armas), whose skimpy outfits are soaked to the point of translucency. They tell him that they were looking for a party and apparently got the address wrong. So, good guy that he is, he invites them inside and offers to call them an Uber and get them some towels for them to dry off. Since this is all orchestrated by the same auteur who brought us the Hostel movies, it’s pretty obvious that none of this will end well. Soon, our clueless hero offers to throw their wet clothes into the dryer and the randy party girls start to put the moves on him. As he grows more and more uncomfortable with the situation he’s put himself in, it’s clear his scruples don’t stand a fighting chance. It’s just a matter of time until the other shoe – or, in this case, the other skimpy bathrobe – drops.

Knock Knock is a pretty flimsy erotic thriller, but thanks to Reeves’ oaken obliviousness it’s also got a few moments of deliciously trashy fun. It’s like Fatal Attraction for the naked-selfie generation. Are these vixens setting him up as part of some grand devious scheme, or are they just naughty nihilists looking for sick kicks by toying with a random husband and father because they can? Roth takes his prurient premise to ludicrous extremes of sexual gamesmanship, building to a finale that never quite pays off with the satisfaction you hoped. And while I suppose that if you squinted hard enough, you could make the case that this is a tale of feminist revenge, I’m not buying it. It’s just a sadistic, softcore thriller whose message is nothing more or less than: Don’t cheat on your partner — something that Glenn Close taught us a lot more artfully many moons ago. C

Knock Knock Review

26 Jun 2015

Knock Knock

If 50 Shades Of Grey opened the door to the return of the sexploitation movie, Eli Roth’s latest thriller is more Fatal Attraction than E. L. James’ 9 1/2 Weeks-style take. Cast perfectly against type, Keanu Reeves stars as Evan, a likable suburban dad whose work commitments prevent him joining his wife and kids on a weekend away. Late at night, two beautiful femmes fatales — Bel (Ana de Armas) and Genesis (Lorenza Izzo) — ring the doorbell, claiming to be lost. Following some initial flirting from the women (bending over provocatively, waxing lyrical about Evan’s vinyl collection) the scene is set for a raunchy game of cat and mouse, with Keeves as the adorably incredulous prey and Roth trading gore for suspense as playful seduction leads to armageddon.

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Knock Knock Review

Eli Roth’s Knock Knock makes Keanu Reeves the target of two seductive, sadistic young women. Read our review…

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In Knock Knock , Evan Webber (Keanu Reeves) is a successful architect with a lovely and talented artist for a wife (Ignacia Allamand), two great kids and a glorious house in a secluded, pristine neighborhood. Sadly, the happily married Webber has to stay home and finish a big project on Father’s Day weekend, while the rest of his brood head off to the beach. Alone in the house, rain coming down, Evan hears a knock – and opens the door to two beautiful young women, Genesis (Lorenza Izzo) and Bel (Ana de Armas) who say they’ve been stranded by a taxi while looking for a party and can’t get their phones to work.

Hesitant at first, Evan lets the girls in while offering them towels and calling Uber to give them a ride. But in the 45 minutes that the cab takes to get there, the women make themselves at home, engender some frank talk about their sexual exploits and end up naked in Evan’s bathroom – where they quickly overcome his protestations and get his clothes off too. A guilt-ridden Evan wakes up the next morning after their romp to find the girls still there and in no hurry to leave – but things take a decidedly non-sexy turn as the two women begin to wreak havoc on the house, Evan and his wife’s belongings and work, and ultimately Evan himself.

On one hand, I would have to say that Knock Knock is probably horror director Eli Roth’s best film since his debut, Cabin Fever . It’s quite low-budget (it all takes place in the house except for one scene) and, as with all his films, the acting leaves something to be desired (more on that later). But for once I was semi-invested in the main character and interested to see how the story played out – as opposed to exercises in nihilism like the two Hostel films and The Green Inferno , which just indulge in the audience’s expectations for torture and violence and mostly give not a shit about anything else. Knock Knock is Roth’s most gore-free film yet; there’s no problem with blood and guts per se, especially in a horror film, but at least for once he proves he can make an entire movie without giving in to his own seemingly juvenile impulses to soak the screen in viscera.

Reeves remains one of the most stiff major actors in cinema history, but at first his awkward demeanor works fully in his favor. During the opening scenes, as Genesis and Bel grow more flirtatious and Evan realizes that there is a classic sexual fantasy scenario unfolding in his living room, Reeves appears genuinely uncomfortable: they sit close to him, he switches seats; one of the girls feels his bicep, he pivots away with an excuse at the ready. He brings up his wife and kids repeatedly. The actor’s own rigidity as an actor helps him play out the scene and at least give Evan some veneer of decency and nobility.

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Of course, that all goes down the drain in the shower that he finds the two women frolicking in a few minutes later. And even if it seems that Evan succumbs a little too quickly, Knock Knock ’s biggest strength is that it will perhaps get male viewers (and their aggrieved dates) wondering how far they could be pushed before falling prey to the girls’ fleshy charms as well. Once the morning comes, however, the girls reveal their true nature – which in itself flirts dangerously with the misogynist dark side of the threesome fantasy (i.e. willing sexual playthings turned into “crazy bitches”). That’s when Reeves’ limitations as an actor come gratingly back, and where Izzo and Armas find it difficult to walk the line between menace and camp.

That turning point in the film is also where Roth’s worst tendencies once again rear their heads, even if they do so in the more restrained fashion mentioned earlier. Sure, the blood doesn’t flow as copiously and gleefully as it does in his earlier efforts, but the back half of Knock Knock is still largely an exercise in how much torment, both physical and mental, Evan Webber can stand. There’s also no context for it; there’s no indication at all that Webber has any sort of past history with adultery (he’s really working alone in his home when the girls come calling – Roth doesn’t even have him looking at porn) and while the motivations of the girls are hinted at – they seem to have done this before as a way to exorcise transgressions earlier in their own lives – their characters are never explored enough beyond their roles as sexpots/predators. There is lip service (no pun intended) given to both the open sexual mores of millennials in the age of Tinder and to the sexualization of youth – the girls tell Webber they’re underage at one point – but like the half-baked ideas about activism in The Green Inferno , they are undeveloped and incomplete.

While Knock Knock does generate suspense and even some empathy for Reeves’ character – which could be a first in a Roth film – it finally fits neatly alongside the other movies in his filmography and reinforces him as perhaps the most morally conservative horror filmmaker working today. Whether you’re visiting a strange country ( Hostel ), pursuing activism under ethically dubious circumstances ( The Green Inferno ) or giving in to a night of sexual indiscretion ( Knock Knock ), Roth makes sure that you are not just punished, but that the punishment is on an almost Biblical scale. I suppose we can be thankful that he pursued a career as a filmmaker and not, say, as attorney general. Ed Meese would have nothing on this guy.

Knock Knock is out in theaters and on VOD Friday (October 9).

2.5 out of 5

Don Kaye | @donkaye

Don Kaye is an entertainment journalist by trade and geek by natural design. Born in New York City, currently ensconced in Los Angeles, his earliest childhood memory is…

Sundance 2015 Interview: The Cast and Producers of “Knock Knock”

In co-writer/director Eli Roth ’s hormone horror story “Knock Knock,” Keanu Reeves plays Evan, a loving father and husband who’s given an offer he should have refused. When alone at his house for the weekend, two young women appear at his door, Genesis (Lorenza Izzo) and Bel (Ana de Armas). They are lost and rain-soaked but eager to party, even with a former DJ/modern-day dork like Evan. His attempts to be hospitable while respecting his vows are continuously defeated, as the duo’s flirtatious joie de vivre only gets more aggressive. When Evan finally embraces the Sirens’ temptation, he is soon haunted by their permanent presence, with passing-by family friends played by Aaron Burns and Colleen Camp caught in the middle. Waging unpredictable anarchy this side of Michael Haneke ’s “Funny Games,” Genesis and Bel set out to destroy Evan’s house, his relationships and Evan himself.

“Knock Knock” is the latest project from “Chilewood,” a title for the filmmaking family started by Roth and Chilean writer/director Nicolás López, along with their frequent co-writer Guillermo Amoedo. Roth’s first film to be shown at Sundance, “Knock Knock” was bought during the festival by Lionsgate for distribution to the price of $2.5 million.

The morning after “Knock Knock’s” world premiere, RogerEbert.com talked with López, Burns, de Armas, Izzo and Reeves to discuss the horror-comedy, the appeal that its wacky narrative had for its actors, and the movie’s warning about free pizza.

“Knock Knock” is distinctly set in Hollywood, but was shot entirely in Santiago, Chile. “Our goal is to make one or two movies per year,” says Lopez. “Non-stop, and in Spanish. The first movie we did was ‘Aftershock,’ which I directed. Then we did ‘The Green Inferno,’ which Eli directed. And then Amoedo directed ‘The Stranger’ which will premiere at this year’s Fantastic Fest. But while we were waiting to figure out what was happening with [the still-unreleased] ‘Green Inferno,’ we wanted to make a movie right away.”

And thus, “Knock Knock” was born, after the three co-writers viewed 1977’s “Death Game,” which Roth stated himself during the previous night’s Q&A to be a huge influence. “We were like, ‘the premise of this movie is so clean,’ López confirmed. “‘That’s the kind of movie we should make.’”

“Knock Knock” challenges the expectation of seeing Reeves with the heroic upper-hand, and instead has him playing the role he himself called “the sacrificial lamb.” When introducing the film, Roth stated that this film was a turning point in his own career and that of Reeves’, comparing the latter to how Clint Eastwood fully harnessed his image to become an even stronger on-camera presence. Lobbing that comparison back to Reeves in an interview, the film’s challenge of expectations for Reeves doesn’t seem intentional to the actor.

“Well, Eastwood never did ‘Bill & Ted’s Excellent Adventure’ or a ‘A Scanner Darkly,’” answered Reeves. “I don’t really play with my image. But I was sent the script by [producer] Cassian Elwes, and I responded to the material; the idea of playing this guy who goes through this journey, who is really guilty and innocent, but mostly guilty, and gets punished. And, in a way, he kind of grows up. But that’s just one aspect of it. I enjoyed the script because it was funny, and I liked the suspense that Eli was playing with. I’ve always wanted to work in a different genre, and I love when films can entertain but have ideas in them.”

López and Burns remarked that this role is a distinctly different one for Reeves, namely that the action star plays an ordinary, boring dad. “It was the first time that Keanu’s played a character who has kids,” López stated. “So when we gave him a gun it was no big deal to him, but when we told him to interact with a kid, he was like, ‘Oh, how do I do that?’ And seeing him nervous, freaking about these two girls, was awesome. He wasn’t being the cool guy, but a normal guy. We even had to dial down his cool and tell him, ‘Keanu, this is how a normal guy interacts with two hot girls!’”

Roth isn’t the first director that one would associate with Reeves, especially as Reeves’ filmography seems to favor horror the least of other genres. But, the actor says that he dug Roth’s movie-lover perspective: “I always think of him as a cinephile—his training, his background. Whenever I’ve seen him speak, or whenever I see his films there’s a lot of referencing in dialogue between the audience and the movie, there’s a conversation happening.”

Opposite Reeves in “Knock Knock” are the two femme fatales played by de Armas and Izzo. Their characters are playful and fickle, and with extreme over-sexualization. What excited these two actresses about playing these characters?

“It was so refreshing to see a script where there were female leads,” said Izzo. I know the story is about [Evan], but it’s also great to find a script where the powerful emotions and roles are played by women, where women can take over and show vulnerability, love, and insecurities in such a palpable way.” De Armas added, “I loved the tone, and the comedy…it was very funny and very sad, that these girls are looking for someone who says, ‘No, I’m not going to fuck you.’ And they can’t. That’s why they keep looking; they are broken.”

With far less decimation to human flesh than Roth’s previous adventures of hormonal comeuppance (“Hostel”), “Knock Knock” speaks mostly in comedic beats despite the dark psychological places it inhabits. As Izzo described, “It’s tricky because there’s so much comedy, which makes it natural, because as humans we deal with dark things and emotions with laughing and uncomfortable jokes. But we’re talking about young girls at the end of the day, and it’s such an interesting script because of that.”

The discomforting comedy of “Knock Knock” can be quite vivid, and within the fetishistic nature of Roth’s unabashed storytelling. Incest and pedophilia are just a few of the elements that “Knock Knock” brings into its horrifically awkward playtime. While one can assume that nothing was out of bounds for a Roth set, who came up with these weird bits of charcoal comedy?

“All of those jokes,” answered de Armas, “you can ask Eli.” To which Izzo interjected, “Actually, I did come up with a few. I mean, I did marry him.”

The downfall of Evan’s character and the catalyst for the film’s “ Funny Games ”-like shenanigans is summated with the term/future-Twitter-trending-topic “free pizza.” It makes for the movie’s most unforgettable passage, as expressed in a monologue from an uncharacteristically impotent Reeves. Who do we have to thank for this bizarre, quaint metaphor?

“It’s a theory that I’ve had,” stated López. “If you’re with somebody, you’re not supposed to cheat. But if you’re at your house and you just ate, and if somebody came to your door to give you free pizza, you’re going to have a slice. Evan doesn’t want free pizza, he didn’t ask for free pizza, but it’s free pizza.” “You can throw the pizza box away,” Burns added. “And nobody would ever know!”

“The whole thing about the movie being called ‘Knock Knock’ is that you decide to open the door,” concluded López. “When you open the door, bad things could happen, because you’re playing with fire.”

With recently-purchased “Knock Knock” proving fortuitous for both a less-torturous director and his one-of-a-kind lead, Roth and Reeves are both headed towards intriguing projects in the future. Up next for Chilewood is a straightforward comedy titled “I’m Not Crazy,” which Roth collaborated on and Lopez will direct. And by the end of 2015, Chilewood hopes to be working on Roth’s next directorial project, “The Hive.” A horror sci-fi about the disappearance of bees, the script is nonetheless a collaboration between Chilewood and “American Hustle” director David O. Russell .

As for Reeves, he has a vibrant excitement regarding his upcoming acting filmography. “I don’t have a particular genre that I’ve been looking at,” said Reeves. “If I looked at what I’m doing [next], there’s action, a little near-future sci-fi, there’s comedy, there’s medium big budget and low budget, and there’s lead and supporting roles.” But when I told the budding filmmaker behind 2013’s “ Man of Tai Chi ” that I can’t wait to see what he does next behind the camera, he offered a humble smile, and knocked on wood.

Nick Allen is the former Senior Editor at RogerEbert.com and a member of the Chicago Film Critics Association.

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Knock knock.

Common Sense Says
Parents Say 26 Reviews
Kids Say 9 Reviews

Common Sense Media Review

Horrible home-invasion thriller from Eli Roth.

Parents Need to Know

Why Age 18+?

A man cheats on his wife with two women at the same time; both of them show nake

Constant extreme language includes "f--k," "s--t," "c--

A man is tied up, taunted, and abused. A man fights with and hits women, startin

Apple computer, iPhones shown. Facebook mentioned. Uber mentioned. iPad mentione

Some background drinking and smoking. A character nearly smokes pot but stops. T

Any Positive Content?

The movie indulges in intolerance and vengeance, with no concept of understandin

Two characters act cruelly and out of vengeance and self-righteousness. A third

Sex, Romance & Nudity

A man cheats on his wife with two women at the same time; both of them show naked breasts and bottoms. A long sex scene includes flesh-on-flesh close-ups. Oral sex. Husband and wife kiss in bed. Plenty of sex talk. Talk of sex with underage girls.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Constant extreme language includes "f--k," "s--t," "c--k," "c--t," "a--hole," "goddamn," "whore," "bitch," "retarded," "hell," and "Jesus" (as an exclamation).

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Violence & Scariness

A man is tied up, taunted, and abused. A man fights with and hits women, starting to choke one of them. Head-bashing. A man is stabbed in his already-wounded shoulder. Gun is drawn but not fired. References to statutory rape.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Products & Purchases

Apple computer, iPhones shown. Facebook mentioned. Uber mentioned. iPad mentioned.

Drinking, Drugs & Smoking

Some background drinking and smoking. A character nearly smokes pot but stops. Talk of pot-smoking.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Positive Messages

The movie indulges in intolerance and vengeance, with no concept of understanding or empathy.

Positive Role Models

Two characters act cruelly and out of vengeance and self-righteousness. A third character is an accused pedophile, though viewers don't know the details of his crime. He seems to be a good father and husband, except that he succumbs to the other two main characters' charms and cheats on his wife.

Parents need to know that Knock Knock is a home invasion thriller that also deals with pedophilia, torture, and revenge. Women's naked breasts and bottoms are seen, and there's an extended three-person sex scene that includes implied oral sex and skin-on-skin close-ups, as well as plenty of sex talk. A character is tied up and abused, and a man fights with women. A gun is pulled but not fired. Language is extremely strong, with uses of "f--k," "s--t," "c--k," "c--t," and much more. There's some background drinking and smoking, and pot is shown and referenced. Fans of popular horror director Eli Roth (and star Keanu Reeves ) will want to see this, so beware. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Parent and Kid Reviews

Parents say (26)
Kids say (9)

Based on 26 parent reviews

Horror and sex 🔪🔪

Another twisted eli roth flick…, what's the story.

Architect Evan ( Keanu Reeves ) is a happy family man who has been in some kind of trouble in the past, but his artist wife and their two kids appear to have forgiven him. One weekend, he stays home to work while they go to the beach. But during a rainstorm, two young women who claim to be lost knock on his door. Genesis ( Lorenza Izzo ) and Bel (Ana de Armas) seem nice at first, and Evan lets them dry off and warm up while they wait for an Uber. Eventually the women get flirty, and the trio tumbles into bed together -- but the next morning, Genesis and Bel act crazy and won't leave. Things turn dark when they attack Evan, tie him up, and torment him. At first Evan thinks only of saving his marriage, but soon he becomes invested in saving his life.

Is It Any Good?

Director Eli Roth returns with another loathsome movie, this time gleefully playing around with a home invasion, torture, pedophilia, and revenge but never seeming to know what he wants to say. Details of Evan's supposed pedophilia are kept from viewers, so we have no idea just how bad his crime was -- only that his wife and kids seem to have forgiven him. He does make a big mistake by jumping into bed with Genesis and Bel, but he more or less earns our sympathies.

This brings up the question of why the two women would degrade themselves by sleeping with someone they intended to torture. Other inconsistencies come up, too, but eventually it all collapses into a dumb torture show with characters acting, by turns, vicious and stupid. KNOCK KNOCK is a huge waste of time and effort for Reeves (what was he thinking?); at least cinematographer Antonio Quercia chooses smooth, fluid camerawork over his usual jerky stuff.

Talk to Your Kids About ...

Families can talk about Knock Knock 's violence . Does the violence directed toward woman seem stronger than the rest? What message does that send? What's the impact of media violence on kids?

Why would Evan choose to have sex with his female visitors? What does he risk? How is sex portrayed in the movie?

Who has our sympathies in this movie? Why? Are any of the characters at all admirable?

Does the movie glorify drinking , smoking , or drug use ?

Movie Details

In theaters : October 9, 2015
On DVD or streaming : December 8, 2015
Cast : Keanu Reeves , Lorenza Izzo , Ana de Armas
Director : Eli Roth
Inclusion Information : Asian actors, Polynesian/Pacific Islander actors, Female actors, Latino actors
Studio : Lionsgate
Genre : Thriller
Run time : 99 minutes
MPAA rating : R
MPAA explanation : disturbing violent behavior, strong sexual content, nudity and language
Last updated : June 7, 2023

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Keanu Reeves, as a Cheating Husband, Endures a Comeuppance in ‘Knock Knock’

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By Glenn Kenny

Oct. 8, 2015

The mildly notorious horror director Eli Roth’s work helped bring the term “torture porn” into the cultural lingua franca; his new film, the giddily sadistic black comedy “ Knock Knock, ” puts a new spin on the concept. Here the torture is meted out by two women who initially embody a pornographic male fantasy.

Keanu Reeves, himself putting a funny spin on his not uncommon performance mode of melding virtue with cluelessness, plays Evan, a happy and ultra-devoted dad and husband. Left at his upscale house in the San Fernando Valley of California while his wife and kids visit the beach, he’s interrupted one stormy night by two young women (Lorenza Izzo and Ana de Armas) who claim to be looking for a party in the neighborhood. The rain has given them the appearance of wet-T-shirt-contest winners, but Evan keeps his head as he kindly offers them towels and the use of his computer. (Their mobile phones are drenched, too.) The next half-hour of double entendres ends with Evan’s virtue compromised, not so unpredictably. Evan’s sexy dream turns into a waking nightmare the next morning, when he discovers that his new friends have trashed his kitchen.

Matters escalate to the point where Evan is tied to a chair, awaiting ultimate “punishment” for his adulterous transgression. Mr. Roth, also one of the film’s writers, has big fun balancing the teeth-grinding vengefulness of the young women with the inescapable fact of Evan’s ethical breach. In his weak defense, Evan can only semi-hysterically invoke the metaphor of “free pizza” to excuse his moral trespasses, in one of the movie’s more eye-opening scenes. “Knock Knock” ends on a not entirely satisfactory note, but delivers a pretty mean genre wallop getting there (with almost zero gore). Not to mention a few surprises, the most pleasant of which is the ultimate fate of Evan’s dog. GLENN KENNEY

“Knock Knock” is rated R for “disturbing violent behavior, strong sexual content, nudity and language,” i.e., everything anyone really wants from a movie.

The Ending Of Knock Knock Explained

Contains spoilers for "Knock Knock"

Based on the 1977 film "Death Game," "Knock Knock" is a disturbing, erotic thriller that follows Evan Webber ( Keanu Reeves ), a successful architect and family man whose wife and kids leave town for the weekend. This boring work weekend soon devolves into a debaucherous disaster when two young women, Bel (Ana de Armas) and Genesis (Lorenza Izzo), show up to seduce and torture Evan with a revenge rendezvous of epic proportions.

"Knock Knock" is directed by Eli Roth, notorious for making some of the most disturbing movies – often ones that include hard-to-watch scenes and "torture-porn" sequences. This film is no different, and Evan is subjected to everything from bondage and sexual assault to psychological mind games and imminent death. It's a nauseating nightmare containing highly explicit, vulgar, and offensive elements, and plenty of sickening sights even for those well-versed in horror.

By the film's conclusion, Evan has been through the wringer. His house has been trashed, his self-respect and integrity are in shambles, and his relationship with his family will soon be non-existent. While the girls leave Evan alive, they make sure that everyone will find out exactly what kind of man he is. But is there more to the ending than meets the eye? We take a look back at the ending of "Knock Knock."

What you need to remember about the plot of Knock Knock

"Knock Knock" lures you into a false sense of security with its warm and welcoming opening. We meet the Webbers, a stock-photo, picture-perfect family celebrating Father's Day. The patriarch, Evan Webber, seems to have it all: a gorgeous house, a loving family, and a solid career.

However, things take a drastic turn when Evan is left alone at the house for the weekend. When night falls, there's a strange knock at the door. Evan goes to answer, greeting Bel and Genesis. These two young women have somehow gotten themselves stranded in the rain, with no phones, and in a neighborhood they don't recognize. Out of courtesy, Evan invites them in to dry off and sort out their situation. However, a certain connection forms as he and the girls start talking. While he is initially resistant — thinking of his wife and family — he eventually gives in to temptation and sleeps with the two girls.

By the next morning, things appear to be spiraling out of control, and the girls are behaving in an increasingly erratic and unnerving manner — almost as if they are completely different people. They refuse to leave his house and threaten to falsely report him for sexual assault, claiming that they are minors. Though Evan is able to get them to leave for a brief time, they break back in, tie him up, and subject him to a traumatic night of physical and psychological torture.

If you or anyone you know has been a victim of sexual assault, help is available. Visit the Rape, Abuse & Incest National Network website or contact RAINN's National Helpline at 1-800-656-HOPE (4673).

What happened at the end of Knock Knock

By the film's end, it is assumed that Evan is a dead man. He tried his best to escape but fumbled practically every opportunity. He lost all of the girls' sadistic games, and every single one of his efforts to appeal to their humanity or sympathy was ignored. There is no reasoning with them, and they bury Evan in six feet of dirt with only his head exposed and a large stone hovering over him. Closing his eyes and waiting for the imminent skull cracking, the girls release the stone which purposely misses him by just an inch. Confused, Evan opens his eyes and is met by the girls telling him that they're not going to kill him but he's not getting away with it either.

Earlier in the night, Bel sexually assaulted Evan while wearing his young daughter's school uniform. The sadistic girls recorded this act and posted it to Evan's Facebook account with the caption "Celebrating Father's Day." While the sex wasn't consensual, you can't tell this from the video. As their final act of torture, the girls place the phone in the dirt in front of Evan, forcing him to watch in agony as the comments pour in, the views go up, and his entire life is destroyed before his eyes. Arguably, death would've been a more merciful end to his ordeal than this.

Who were the girls?

"Knock Knock" deliberately doesn't divulge too much information on who the girls are or where they come from. The names and backstories they give to Evan are likely fake, and not much is revealed about their identities or personal lives. One thing the audience can gather about them is that they're both extremely unstable and have likely suffered from some sort of trauma in their lives.

The way the girls behave perhaps gives some insight into what this trauma might be. Throughout the film, they not only act in a disturbing and violent manner but also adopt very child-like personas. They giggle like preteen girls and seem to have no regard for the consequences of their actions. They're reckless, impulsive, and stereotypically adolescent in nature.

One of the most offputting aspects of their behavior is their transference of fatherhood to Evan. The girls repeatedly refer to him as "Daddy" throughout the film, and when Bel assaults Evan she speaks to him as if he were her father — something we later learn has a particularly distressing motivation. While not confirmed, it is heavily implied that Bel — and possibly Genesis — were severely abused in some manner by an older man or father figure in their childhood. Now they're older, they exact revenge by finding and torturing older men.

If you or someone you know may be the victim of child abuse, please contact the Childhelp National Child Abuse Hotline at 1-800-4-A-Child (1-800-422-4453) or contact their live chat services .

Why did the girls choose Evan?

The girls seemingly show up out of nowhere, leaving us wondering why they came to Evan's house in the first place. This is answered at the end of the film when Evan is in the backyard screaming for his life. They tell Evan that no one is around to hear him, and they know this because they knocked on tons of doors before they got to Evan and no one was home. They didn't pick his house, it was just dumb luck that he was the first to actually answer.

Once they've met Evan, it becomes clear to them that he meets their criteria. He's an older, married man, and his family is out of town. However, meeting these requirements was not the final nail in Evan's coffin. These girls weren't just choosing random, innocent men to exact revenge on. They're choosing bad men and bad fathers who destroy their families in service of their self-serving desires. This heightens the relevance to the girls' personal trauma and makes the whole thing more cathartic for them.

If Evan hadn't slept with the girls in the beginning — cheating on his wife and betraying his family — they would've left him alone. Bel even says to Evan that she thought he was going to be the first, genuine man to turn them down, but no, he was weak and selfish, just like all the men who came before him.

Were the girls spying on Evan?

While the film suggests the girls were random in their approach to choosing Evan, there is also the slightly more sinister insinuation that he was chosen by them. At the beginning of the film, Evan plays around with his kids and uses a unique monster voice. This is done in a very lighthearted manner of course, but if you're going into this knowing it is a thriller, it is also somewhat ominous.

This comes back to haunt Evan later in the film when the girls torture him and use the same monster voice. This begs the question: Were the girls spying on him the whole time? The girls do appear to be more spur-of-the-moment sadists than covert surveillance specialists, but this would track with the fact the girls seek out married, family men.

Another possible — although less credible — theory is that they had help from Evan's wife. Perhaps she wanted to test her husband's loyalty and arranged the whole thing herself. However, based on what we see of her this would be completely out of character and she doesn't seem like the torturing type at all. Regardless of whether it was a setup or not, the fact remains that if Evan hadn't cheated, then none of this would've happened.

What's going to happen to Evan?

There are plenty of unresolved questions surrounding how Evan found himself in this precarious position, but ultimately what's done is done and the end is fairly conclusive on this. If it was a setup, or if it was just a series of unfortunate events, the ending remains the same. The video of Evan and Bel was posted to Facebook, and undoing the damage of this would be difficult. Even if Evan eventually manages to dig his way out and take the video down, too many people already saw it and it is not something you can easily unsee. You could make the argument that cancel culture is fleeting and people move on, but the vile video would've been seen by Evan's friends, family, and co-workers and that is something they're unlikely to forget.

If Evan did try to explain himself, how likely is it that people would even believe him? The idea of two young girls being able to overpower a grown man in his own home sounds farfetched. It would lead to questions of why anyone would do such a thing, and what their motivation could be. Also, any attempt to justify what happened will just sound like a desperate man fumbling to excuse his deplorable behavior. Any way you slice it, Evan's life as he knows it is over. He's likely to lose his wife, kids, friends, career, and reputation and there's absolutely nothing he can do about it.

What's going to happen to the girls?

The cynical truth of the ending of "Knock Knock" is that nothing is likely to happen to the girls. They made it very clear to Evan that he was not the first man to fall into their trap, and he won't be the last. They're going to keep ruining lives and inflicting torture until they finally find the one man who will say no to them, and prove that there are some good men out there. However, that hasn't happened yet, and the film gives the impression that the day isn't on the horizon.

For now, their twisted quest continues with countless casualties and collateral damage accrued — either until they find the elusive good man or they get caught. However, if they haven't been caught by now, they probably never will. This is one of the more unrealistic elements of the movie, because these are serious offenses, and the girls do little to no work to cover their tracks. In fact, their reckless, attention-seeking behavior makes it seem like they're trying to get caught.

One explanation for how they have evaded arrest for this long is that their crimes are going unreported. It could be that their victims haven't reported it to the police, because they feel humiliated or embarrassed by what has happened to them. It is the sort of thing that seems so outlandish that it would be unlikely to hold up under police scrutiny.

Was Evan a victim?

At the beginning of the film, Evan seems like the kind of person you root for: He's a family man and an all-around nice guy. He clearly makes a mistake when he cheats on his wife with the girls, but that doesn't necessarily justify the torture he endures as a result of this or the fact his life is torn apart by the end.

This is certainly how the movie frames Evan's character for the most part, but as things progress, this carefully curated image starts unraveling. At first, you see this in the dismissal of his actions. He admits he did a bad thing, but continuously denies that he is a bad man or a bad father. He shirks responsibility for what is happening to him and makes excuses. He was seduced, he was pressured, he was trapped ... the list goes on.

By the end of the film, Evan snaps and admits he did exactly what he wanted to do exclaiming, "It was FREE PIZZA! Free f****** pizza! It just shows up at my f****** door! What am I supposed to do?" The big twist of this film isn't that these girls are far more dangerous or sadistic than they look, it's that Evan isn't nearly as nice as he would have you believe. He may have been a target, but he was certainly not a victim.

What the ending of Knock Knock symbolizes

The core theme of "Knock Knock" revolves around the reverberating effect of trauma and the cyclical nature of abuse. It seems that Bel and Genesis were abused and taken advantage of as children, and now that trauma manifests in the violence they inflict upon others.

In the case of Evan, the damage he inflicts as a result of cheating will not stay compartmentalized but will create an irreconcilable rift that echoes throughout his entire family. His wife and children will be traumatized — not only by his betrayal — but through the public humiliation of the video. He committed one act of abuse, but the trauma is not localized. It is diffuse and evasive, spreading like a disease from one sick soul to the next.

There's also quite a lot of commentary here about the nature of men and women. It uses the initial image of Bel and Genesis as crazed, hysterical women as a red herring, distracting audiences from the true antagonist of the film, Evan. There seems to be a tongue-in-cheek message here regarding the "not all men" rebuttal, and the view of this film is that it really is all men.

Knock Knock's alternate ending

There was an alternate ending written and shot for "Knock Knock" that completely changes the resolutions for its characters. In the original ending, we see Bel and Genesis walk off, having gotten away with everything. To kick Evan while he's down, they also steal his dog. In the alternate ending, however, Evan is able to find the girls using a tracking device that was on the dog's collar.

Dressed in black, and with vengeance in his eyes, Evan approaches the house where the girls are. Inside, they're already torturing their newest play toy, but when they hear the knock at the door, they look up, startled. Just as Evan had at the beginning of the film, they answer with an uncertain, "Who's there?"

This ending did not make it to the final cut, but this makes a lot of sense, given that it somewhat contradicts the overall message of the film. It does fit with the never-ending cycle of trauma and revenge theme, but it also clashes with the positioning of Evan as the real antagonist. It could have potentially opened up the film for a possible sequel, but that also just feels unnecessary. The ending makes sense as it is, and in a way, the more cruel and cynical ending is in keeping with the tone of the film.

What Keanu Reeves has said about the ending

In an interview with Collider , Keanu Reeves said that practically nothing from the original script was changed during production, and for the most part, they shot it exactly how it was written. He also said that this was the correct course of action, and that includes abandoning the alternate ending. Again, this ending would've changed a lot of the messaging and symbolism, and Reeves gives the impression that he's a fan of the original message.

Reeves was able to empathize with the character to an extent and definitely sees the good-guy angle, just as the audience is initially meant to. However, speaking to ScreenRant , Reeves also highlighted Evan's frequent dismissal and denial of his wrongdoings as justification for wishing the character ill will and even taking amusement in his suffering at times. It appears as though Reeves is on board with the notion that Evan got what was coming to him. This is always how the film was meant to play out, and it seems like that worked out for the best. At least for now, the cycle ends here.

Eli Roth Takes Keanu Reeves To Hell And Back In 'Knock Knock' [Sundance 2015]

When Eli Roth directs a movie, there's a certain expectation from the film. Gore, disturbing imagery and sheer terror are associated with the director of Cabin Fever and Hostel . Roth knows that as well as anyone. With his latest film Knock Knock , he uses those expectations to his advantage to toy with the audience. The film slowly builds, but situations don't get violent. You might question what the hell you're watching. What is the point here? That might be frustrating in the hands of another filmmaker, but not from Roth. For almost half of Knock Knock , the film presents fresh, difficult and exceedingly awkward situations for the characters. And because you have no idea what's going to happen, that's scary and thrilling in its own unique way.

Knock Knock , which stars Keanu Reeves as a happy husband randomly thrust into an uncomfortable situation with two young girls, premiered this weekend at the 2015 Sundance Film Festival. Continue reading our Knock Knock review.

Evan (Reeves) seems like the perfect guy. He's an architect, lives in a beautiful California home, has two kids and a lovely talented wife. One afternoon, the wife and kids go to the beach but Evan has to stay home and work. It's raining, he's alone, listening to music, and there's a knock at the door. Two beautiful young girls, played by Ana De Armas and Lorenza Izzo , are standing in the cold. They're drenched, lost and just want to come in to dry off and use the phone.

Trailers, images, interviews and more are sure to give you a better idea of what happens next but it's probably best if you don't know. Suffice to say, however wild your imagination can run with that scenario, the movie goes there and then keeps going, building a tension that'll make you squeal in your seat to exhale the built-up emotions.

As Knock Knock begins, Reeves doesn't feel quite right in this role. We aren't used to seeing him as a dad and it feels off. But once the family leaves and he's on his own? That's a role he's perfect for and when Knock Knock really gets cooking. Then you add De Armas and Izzo, two actresses with an amazing chemistry and energy. In a single shot, they can maneuver from innocent to scary, sexy and goofy. They're a unique, frightening, modern horror duo. You can't take your eyes off them, yet watching them never quite feels good.

The film does falter a bit as the motivations and plans are revealed. There's a point to this whole scenario, of course, but as the stakes get higher and higher, the tension mounting and growing, what you're seeing on screen can never live up to the "why" behind the actions. The whole movie is structured to keep you on your toes, but the plot itself never lives up to expectations set by the tension.

Nevertheless, Knock Knock is another strong example of Eli Roth doing what he does best: Building tension, asking questions, and making the audience uncomfortable. A few bumps aside, Knock Knock is an enjoyable, original ride.

/Film rating: 7 out of 10

[Review] ‘Knock Knock’ Confidently Answers the Door, But at the Wrong House

“Please! Haven’t you ever made a mistake?”

The above line is pleaded by Evan Webber (Keanu Reeves) to his gleeful tormentors, and you can’t help but be reminded of how many other home invasion films—an increasingly bloated genre—begin that way. And even though the trappings of Knock Knock make it feel like this one might be different, it still succumbs to a lot the same pitfalls that previous entries in the genre have. Even though the film might feel like director Eli Roth’s most accomplished picture yet, a number of issues hold it back from being the great definitive genre piece that it wants to be.

With a plot that very much resembles a Penthouse letter, two soaking wet damsels in distress, Genesis (Lorenza Izzo, fresh off of her role in Roth’s The Green Inferno ) and Bel (Ana de Armas), come upon Evan’s house and beg him for help. Evan acquiesces, but as time goes on his peaceful, humble life begins to be dismantled apart in front of him, with him never going to be the same. The film seems to be so entrenched in Roth’s usual sensibilities that you’d be surprised to learn that this is actually a remake of Peter Traynor’s 1977 exploitation film, Death Game .

Before all of the chaos breaks loose, Roth takes him time, movingly slowly to help establish a tone. It’s also appreciated that in this prelude to everything you actually get to meet Evan’s family and see him interacting with them. Instantly they have more weight and the stakes feel higher when they are at risk because they’re not just names or random photos. We’ve met them. In spite of this beginning section taking its time, you know pretty much exactly where all of this is heading. Just like how Evan is constantly moving his position in the room or switching chairs as Genesis and Bel get closer to him, we too are never fully lulled into a sense of security through this narrative. Genesis and Bel pepper Evan with compliments, playing coy, and exuding uninhibitedness with every flirty touch and smile, and yet, the hanging guillotine is always present and Evan is nearly as aware of it as we are.

Knock Knock operates how a lot of Roth’s films do where it appears that characterization it not the priority and you might not be left caring about these people (especially in the case of Genesis and Bel where most of what they say is a lie anyway). In fact, you’ll likely resent Genesis and Bel as you essentially just see them act privileged and selfish before the danger sets in. The difference here comes in the form of Reeves’ Evan who is out of the age bracket that Roth is typically playing in, adding a little more dimension and “real worldliness” that his characters can often lack.

As Genesis and Bel carry on their wanton destruction there’s a bunch of veiled dialogue between them that hints at something more from their past. Their sexual behavior is also so often steeped in heavy daddy issues and infantilization that feels symptomatic of sexual abuse in their childhood that has stunted them psychologically and manifested as mental illness. This film is not interested in being torture porn, with it instead being more messed up on an internal level, which feels like an important distinction to make.

The moments of Genesis and Bel acting out behavior that shows them stunted mentally are the ones that hit the hardest and tease a somewhat original movie, even. Home invasion scenarios have certainly been done to death at this point and the mere subversion of swapping the gender roles is hardly enough to make a film feel fresh, but the idea of two victimizers who have psychologically regressed and have no way to be logically reasoned with is something different.

The villains in Roth’s other films have been driven by things like money and power in Hostel or instinct and tradition in the case of The Green Inferno , but this is the first film of his where the antagonizers feel like they might be this way because of something that’s happened to them and shattering who they are. That they are almost just as much as victims as Evan is, and it’s in that respect that Knock Knock is fascinating to me and becomes a much deeper picture than it lets on to be. The problem is that this dimension of the film isn’t explored nearly as much as it could be, which results in more scenes of Genesis and Bel seeming like they’re putting on an act, have no history of abuse, and are in control (there are lines referring to a larger organization and clean up crew at hand, and that they have done this many times before), as opposed to two unhinged victims that are acting out of psychosis, which I think is the much more interesting (and frightening) of the two scenarios. This feels like the film that the survivors of Roth’s other films would end up making due to the trauma they’ve been through.

Bel and Genesis’ sadistic chemistry with one another is very strong and probably the best part of this film. As these two sync up together and become increasingly intimidating, you can’t help but feel frightened and outnumbered like Evan does. There’s a sly line in the first half of the film where Evan mentions not being too scared of their physical prowess and that he could comfortably take the two of them. When the shoe is finally on the other foot though, it’s not their physical strength that matters, but their mental manipulation of Evan and how they team up on him in that respect. Him being outnumbered here isn’t dangerous because it means a second set of fists to pummel him, but rather another voice to play out his insecurities and feed the lies that have been wearing him down.

In a similar vein, there’s a through line of sexual violence that the film wallows in as much as it can. One piece of Genesis and Bel’s torture to Evan is framed like a pedophile-themed game show for instance, with the punishments being like-minded accordingly. This is the right sort of idea and the focus that the film should take more often. Like a more damaged version of Hard Candy. Like if Hard Candy had two Velociraptors on the loose in the house. Even the final act is more or less turned into a big game of hide and seek. Intense violence is often being married with juvenility in what seems like the perfect representation of Genesis and Bel’s mental states.

In such a minimalistic film, obviously a lot of it is going to hinge upon Keanu Reeves’ performances, and unfortunately he’s really terribly here, which is puzzle stuff since it almost felt like the actor was having a renaissance lately with stuff like John Wick. It’s very difficult to take him seriously as he screams out lines while tied to a chair, churning out a very Nicolas Cage-like performance. Because of how restricted he is for the second half of the film, so much is dependent on Reeves’ vocal performance and he just sounds downright wooden. Major moments where he’s yelling about being concerned over going deaf or calling the police to help his friend completely fall flat. It’s painful to see Reeves delivering pivotal dialogue life, “You killed him! You killed him!” or “I’m a good father!” and it not at all being taken seriously, as you’re left thinking of the wasted opportunity on what someone else could have done with the part. In the right hands this could actually be a great role—and someone like Dan Stevens from The Guest or even Bruce Campbell would have delivered a much more interesting take on this—but instead you’re sort of left mocking Reeves, which is not at all helpful to the character. You need to be endlessly empathetic to him and want to see him escape, not get further humiliated.

There’s a moment towards the end of the film that’s Evan’s huge scene. It’s a transformative monologue that makes nothing but good points and is a staunch reminder that Evan is the hero in all of this. It’s the sort of speech that the audience should applaud at afterwards but instead I guarantee you that people are just going to laugh, or even cheer when Genesis and Bel respond how they do. I don’t mean to be harping endlessly on Reeves here, but it’s a distracting performance that he puts out, even if he does just go for broke with it all. By the time he’s barking about taking “free pizza,” it’s already too late for him.

Knock Knock’s conclusion also frustrates as Evan really doesn’t deserve the fate that he’s given. The film treats the final moments as if Evan’s angry, raging side is who he really is, whereas that couldn’t seem to be further from the truth. Evan’s more than justified for his anger. With this blunt conclusion and the film offering up no hint of seeing the lasting psychological damage that Genesis and Bel may or may not be going through, the movie as a whole certainly feels hollow and the commentary that it might have been making about abuse is muddled and lost to Roth’s typically loud style. Instead the takeaway that the film wants us to have is on men being inherently unfaithful and “evil” with these two women in fact being some sort of misunderstood angels in disguise.

While Knock Knock can successfully claim that it does present that perspective to some degree, that’s nothing to be proud of. Countless films brandish this “edgy” theme, and for this one to ride out on that makes it merely feel like another face amongst the crowd as opposed to something unique. In Roth’s defense, this conclusion could have gone down a much worse route but he instead shows restraint. His ending does have a strong impact that arguably “works,” but the problem is that Evan doesn’t seem like the terrible person that needs to learn the lesson that he’s taught.

Knock Knock is far from a good movie, but also far from a bad one, with it more than anything seeming to be an interesting piece in the filmography of Eli Roth. It could act as the turning point as he ushers in a more cerebral, psychological brand of horror as opposed to the visceral variety that he’s been focused on so far. I might have thought I was finished with Roth’s outings in the past, and even if Knock Knock hasn’t gotten me back on board with the director, it has shown me that he perhaps has a little more left to say

Daniel Kurland is a freelance writer, comedian, and critic, whose work can be read on Splitsider, Bloody Disgusting, Den of Geek, ScreenRant, and across the Internet. Daniel knows that "Psycho II" is better than the original and that the last season of "The X-Files" doesn't deserve the bile that it conjures. If you want a drink thrown in your face, talk to him about "Silent Night, Deadly Night Part II," but he'll always happily talk about the "Puppet Master" franchise. The owls are not what they seem.

‘The Exorcist III’ – Watch the Trailer for Arrow Video’s 4K Restoration [Exclusive]

The true heir to William Peter Blatty and William Friedkin’s 1973 masterpiece, The Exorcist III is returning this Halloween with a brand new 4K restoration from Arrow Video .

Arrow Video brings The Exorcist III to 4K Ultra HD in the United Kingdom on October 7 , and Bloody Disgusting is exclusively debuting the trailer for the new restoration today.

The personal vision of Blatty (the acclaimed author of The Exorcist ), The Exorcist III is set 15 years after the events of the first film and sees Lieutenant Kinderman ( George C. Scott , The Changeling ) investigate a series of horrific murders that follow the modus operandi of the notorious Gemini Killer… who died several years earlier in the electric chair.

After his friend Father Dyer ( Ed Flanders ) is murdered in his hospital bed, Kinderman’s investigations lead him to ‘Patient X’, a psychopath housed at the same hospital who claims to be the Gemini Killer, and who knows intimate crime scene details. Their encounter leads to a fiery climactic confrontation between the eternal forces of good and evil…

Blatty’s film is presented here in both its original theatrical cut and the Legion director’s cut.

Here’s everything you need to know about Arrow Video’s new release…

4K ULTRA HD BLU-RAY LIMITED EDITION CONTENTS

Two presentations of The Exorcist III : the theatrical cut, presented on 4K Ultra HD (2160p) Blu-ray in Dolby Vision (HDR10 compatible) and the Legion director’s cut, presented on High Definition (1080p) Blu-ray
Original theatrical 2.0 stereo audio and optional 5.1 DTS-HD Master Audio on both cuts
Restored 2.0 stereo audio from 2023 on the theatrical cut
Optional English subtitles for the deaf and hard of hearing
Reversible sleeve featuring original and newly commissioned artwork by Richard Wells
Illustrated collector’s booklet featuring writing on the film by Lee Gambin, archival articles and reviews

DISC ONE – THE THEATRICAL CUT (4K ULTRA HD BLU-RAY)

2K restoration of the theatrical cut of The Exorcist III , presented in 4K Ultra High Definition
Audio commentary by critics Alexandra Heller Nicholas and Josh Nelson
Audio interview with writer/director William Peter Blatty
Death, Be Not Proud: The Making of The Exorcist III , an in-depth 2016 documentary divided into five chapters: Chapter One: A “Wonderfull” Time, an interview with producer Carter DeHaven and members of the supporting cast and production crew; Chapter Two: Signs of the Gemini, an interview with actor Brad Dourif; Chapter Three: The Devil in the Details, an interview with production designer Leslie Dilley and more; Chapter Four: Music for a Padded Cell, an interview with composer Barry DeVorzon; Chapter Five: All This Bleeding, interviews about the additional shoot and special effects
The Exorcist III : Vintage Interviews, archival interviews with cast and crew members including William Peter Blatty, producer James Robinson, actors George C. Scott, Jason Miller, Grand L. Bush and Ed Flanders
Falling Down a Long Flight of Steps , an interview with special effects artist Randy Moore
The Exorcist III : Vintage Featurette, making-of documentary with on-set footage and interviews
Deleted scenes, alternate takes and bloopers
Image galleries
Trailers, TV spots and radio spots

DISC TWO – THE ‘LEGION’ DIRECTOR’S CUT (BLU-RAY)

High Definition Blu-ray™ (1080p) presentation of the Legion director’s cut, assembled from the best available film and video elements
Legion audio commentary with esteemed film critics Mark Kermode and Kim Newman
Deleted Prologue, an alternate opening to Legion with optional audio commentary from Mark Kermode and Kim Newman

The Exorcist III boasts some unforgettable scares and exceptional supporting performances from co-stars Jason Miller ( The Ninth Configuration ) and Brad Dourif ( Child’s Play ).

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Knock knock.

Directed by Eli Roth

One night can cost you everything.

Keanu Reeves Lorenza Izzo Ana de Armas Aaron Burns Colleen Camp Ignacia Allamand Antonio Quercia Dan Baily Megan Baily

Director Director

Producers producers.

Colleen Camp Tim Degraye Cassian Elwes Eli Roth Nicolás López Miguel Asensio Llamas

Writers Writers

Eli Roth Nicolás López Guillermo Amoedo

Story Story

Anthony Overman Michael Ronald Ross

Casting Casting

Justine Hempe Sheila Jaffe

Editor Editor

Diego Macho Gómez

Cinematography Cinematography

Antonio Quercia

Assistant Directors Asst. Directors

Constanza B. Majluf Pablo Atienza

Executive Producers Exec. Producers

Larry Spiegel Teddy Schwarzman Sondra Locke Keanu Reeves Peter Traynor

Camera Operators Camera Operators

Chechu Graf Mirko Zlatar

Production Design Production Design

Marichi Palacios

Art Direction Art Direction

Fernando Alé

Visual Effects Visual Effects

Camila Acevedo Carmona Felix Vergara Rodrigo Rojas Echaiz

Stunts Stunts

Salvador Allende María Jesús Marcone Wernher Schurmann

Composer Composer

Manuel Riveiro

Sound Sound

Mauricio Castañeda Soledad Vargas Martin Seltzer Mauricio Molina Mauricio López

Costume Design Costume Design

Elisa Hormazábal

Makeup Makeup

Felipe Figueroa

Hairstyling Hairstyling

Sobras International Pictures UFA Black Bear Pictures Camp Grey Elevated Films Movie Trailer House Dragonfly Entertainment Voltage Pictures

Chile Germany USA

Primary Language

Spoken languages.

Spanish English

Releases by Date

23 jan 2015, 05 sep 2015, 13 sep 2015, 04 nov 2015, 26 jun 2015, 02 sep 2015, 03 sep 2015, 04 sep 2015, 10 sep 2015, 11 sep 2015, 23 sep 2015, 24 sep 2015, 02 oct 2015, 08 oct 2015, 09 oct 2015, 15 oct 2015, 20 oct 2015, 21 oct 2015, 22 oct 2015, 27 oct 2015, 29 oct 2015, 30 oct 2015, 05 nov 2015, 06 nov 2015, 12 nov 2015, 26 nov 2015, 03 dec 2015, 10 dec 2015, 29 oct 2017, 22 jan 2016, 11 jun 2016, 01 nov 2021, 09 dec 2015, 15 jan 2016, 20 jan 2016, 22 feb 2016, 08 mar 2016, 10 mar 2016, 14 apr 2016, 01 mar 2016, 28 nov 2017, releases by country.

Theatrical +16
Physical MA 15+ DVD

Bosnia and Herzegovina

Theatrical 16
Theatrical 18A
Physical 18+
Physical 15
Premiere K-16 Night Visions Film Festival
Theatrical K-16
Premiere 12 Deauville Film Festival
Theatrical 12
Digital 12 VOD
Physical 12 DVD & Blu-Ray
Digital 12 Prime Video
Theatrical III
Theatrical A
Theatrical 18
Theatrical הותר לבני 18 ומעלה נימוק: סצנות סקס, אלימות ונדליזם ועוד
TV 14+ Canale 5
Physical 14+
Digital R15+
Theatrical N-16
Theatrical B-15

Netherlands

Physical 16 DVD, Blu ray
TV 16 RTL 7

Philippines

Theatrical R-16
Premiere M/16 MOTELX - Lisbon International Horror Film Festival
Theatrical M/16
Theatrical 18+
Physical 18+ DVD
Theatrical R21

South Africa

South korea.

Theatrical 15
Premiere Sundance Film Festival
Theatrical R

99 mins More at IMDb TMDb Report this page

Popular reviews

Review by mads ★½ 37

Death?☠Death? ⚰You're gonna kill🔫 me? You're gonna fucking kill🔫 me? Why? ❓WHY? ⁉️Because I fucked 👉🏻👌🏻you? You fucked me! You fucked ME🙇🏻! You came to MY house🏡! You came 😪to ME! I got you a car🚙, I brought you your clothes👙👗👠, you took a fuckin' BUBBLE 💦BATH🛀🏻! You wanted it! You wanted it! You came 😍😩on to me! What was I supposed to do🤔🙄? You sucked my cock🍆👅, you both fucking sucked my cock👅🍆👅! It was FREE🆓 PIZZA🍕! Free 🆓fuckin' pizza🍕! It just shows up at my fuckin' door✨✨! What am I supposed to do? "We're flight attendants✈️🛩🙎🏻. Come on, fuck us👅💦! No one will know. Come on, fuck us😖😁😍💦😘😁😩!" Oh, twosomes💏, threesomes👨‍👩‍👧. It doesn't matter! Starfish🌟🐠! Husbands👨‍❤️‍👨! You don't…

Review by Simon Ramshaw ★★★★★ 19

Best Nic Cage film of the decade.

Review by 📼R📼 ★★½ 4

This review may contain spoilers. I can handle the truth.

Worth your time just so you can hear Keanu scream at the top of his lungs, "YOU SUCKED MY COCK!!" A moment sure to be included on "Best of Keanu Reeves Acting" reels from now on.

Review by Keith Goulette ★ 13

Did anyone else get severe anxiety that they weren't ready when the Uber arrived?

Review by Jay ★ 3

the free pizza speech from keanu is enough to make you forget this is Ana De Armas' breakout feature film

Review by drugged walker ½ 17

I have never had a more horrible time watching a movie than this.

Review by Tom dePerto ★★★½ 12

Cageism is real.

What is to believe in Cageism? To believe in Cageism is to accept Nicolas Cage as your one true and only God . It is to believe that The Cage , or God Cage , descended from the heavens and shaped the world as we know it today. He's had many bodies and has taken many lives , as well as giving birth to new souls . He is the reason we're all here, and the reason why the world is the way we know it. He is the bringer of Life and Death , of Joy and Sadness , of Happiness and Despair , and of Love and Hate . God Cage is life itself . Bees are an iconic symbol of Cageism .

Cageism has spread…

Review by Jay ★ 4

thats enough bad career decisions, keanu reeves

Review by Jenessa

WHAT WAS I SUPPOSED TO DO? YOU SUCKED MY COCK, YOU BOTH FUCKING SUCKED MY COCK! IT WAS FREE PIZZA! FREE FUCKING PIZZA!

probably the best movie i've seen this year.

Review by Leticia Fernandes ½ 12

Me: I really like horror films. Eli Roth, breaking into my house: oh how about mine?? I make those!!! Me: No, not yours. Yours can choke.

Review by Todd Gaines ★★ 79

Evan is a family man, livin' the American Dream. He has a beautiful wife, two cute kids, a cool doggie named Monkey, and he lives in a very nice house. He has it all; or does he? One weekend, his family goes out of town so Evan can concentrate on some architecture work. It's a rainy night, and would you guess there's a knock knock at his door? At his door, are two soakin' wet "twenty-somethings," and can you guess what comes next? Well, I don't think I've ever read something like this in a Dear Penthouse letter. Knock Knock is from Eli Roth, and it stars Keanu Reeves, and Eli's real life wife. It's a remake of a sleazy…

Review by Bill Ryan ½ 10

Eli Roth is a fucking idiot.

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What It Do Movie Reviews

Knock Knock Movie Review (2015): A complex morality tale about the consequences for our actions, and just a really fun time

Knock Knock was essentially a compilation of Keanu Reeves freak out moments, culminating in an epic, over the top rant/monologue in which he assimilates a 3-some with two girls that show up at his door to free pizza. This film is so insane, over the top and off the rails, yet it is also slick, smart and stylish with a great sense of tension and dread building throughout. Director Eli Roth knows exactly what this movie is, and he doesn’t try to make it anything other than what it’s supposed to be. It is technically classified as a horror mystery, bit it’s more like a psychological thriller. A tale of moral complexity and consequences for our actions, and as this movie comes to a close, we as the audience will be asking the same questions that the movie offers up.

A spiritual remake of the 1977 exploitation flick Death Game, Knock Knock tells the story of Evan Webber (Keanu Reeves). He’s an architect with a beautiful wife and two lovely children whom he loves very much, and we know this by the opening of the movie with them surprising him with a cake on Father’s day and him reacting according, with terribly bad acting that just about works in a movie like this.

Turns out these girls are completely insane sociopaths, making him pay for his sins, and by sins I mean cheating on his wife. This escalates into a cat and mouse game between Evan and his captors, trying to escape or find help during a weekend where none of his neighbors are home for some reason, because everybody goes on vacation for Father’s day weekend.

This film is all about an escalation of events, how inviting these two girls in led to flirting, led to him cheating on his wife, and led to him being held captive. And it’s all handled in a slick, stylish, and most of all, smart way. It is about escalation, but that is also one of the biggest weaknesses of the film, since the first half is mostly set up with nothing really going on. At points I was wondering where this was going and the purpose of everything transpiring on screen. Now, contrast that to the end where everything started to make more sense and the setting up in the first half played out in the second, and made for a satisfying conclusion to the story.

One of the best aspects of this film was the exploration of the house, without ever making it feel too egregious or out of place. It was handled in a more secret way, an exploration of this house as the film progresses, and with the ending shots and moments, we realize the scope of the film, and the film did a great job at exploring this house, but waited until he end until we truly understood just how much of the house was explored, and the role it played in the events.

With all of that being said, this is not a particularly well acted film, with Keanu basically yelling and shouting throughout, but not really emoting much. However, the acting is just bad enough that it works in a film like this, becoming one of the more endearing qualities, not to mention that the two female leads, Ana De Armas and Lorenza Izzo did a great job at playing these two young, psychotic yet innocent women, doling out their own brand of justice to a man who they believe deserves it, and it elevated the film to more than what it could have been. There is more to them than meets the eye, and the way they deliver the dialogue and some of the more quieter moments really gave us a glimpse into them as characters and their motives.

At the end of the day, this was a well-executed home invasion style film, but with two women doing the invading. It offered up interesting questions of morality and ideals while also offering up a really fun ride at the same time. There were moments near the end where the women maybe gave one or two lines, and those lines just hung there while they moved on, yet they also described their motivations and aspirations, which made complete sense looking at it from their perspective. This was just a really fun, sleek thriller which gave us some epic Keanu freak out moments that would make Nic Cage proud. The acting is not that great and the pure set up of the first half dragged and felt sluggish at times, but even all of that served a purpose as the film drew to a close. This is definitely a fun, and at times, morally challenging and complex film, and Eli Roth executed and knew exactly what he wanted out of this.

Overall: 7.75/10

Directed by: Eli Roth

Starring: Keanu Reeves, Ana De Armas, Lorenza Izzo

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‘Heretic’ Review: Hugh Grant Is Heavenly in a Religious Horror Movie About Two Mormon Teens Who Knock on the Wrong Door

A single-minded religious horror movie that strains to be shocking but refuses to offend, Scott Beck and Bryan Woods’ “Heretic” leaves itself with no other option but to have some cheeky fun at God’s expense. That proves easy enough for this chatty little chamber piece, as one of the story’s three main roles is a sadistic theologian played by Hugh Grant , who’s having the time of his life in a spirited performance that feels like a cross between “Paddington 2” baddie Phoenix Buchanan and real-world nuisance Bill Maher. “Heretic” may not be serious-minded enough to shake (or reaffirm) anyone’s faith, but it’s rare to experience a sermon of any kind delivered with such panache — and not only because Grant’s character sings Radiohead and impersonates Jar Jar Binks as part of his effort to prove that all of the world’s religions have gotten it wrong.

The mansplainer’s name is Mr. Reed, and two Mormon teen missionaries have the terrible misfortune of knocking on his door one dark and stormy night in small town Colorado. The bubbly and naive Sister Paxon (Chloe East) and her somewhat worldlier co-evangelist Sister Barnes (Sophie Thatcher) have come to sell their new friend on the Church of Jesus Christ of Latter-day Saints following a long day of failed baptisms and public humiliation (some local kids wanted a look at Sister Paxton’s “magic underwear”), and Mr. Reed is all too eager to hear their pitch.

‘Riff Raff’ Review: A Copy of a Copy of a Copy of Better Films

Marya e. gates.

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In 2006 writer-director Dito Montiel broke out with the autobiographical “A Guide to Recognizing Your Saints,” ushering in a raw new voice. Inspired by his rough childhood growing up in Astoria, the film ‘s detailed world building and lived-in characters brought a veracity to the well-worn crime-drama genre. Somehow, two decades and half a dozen films later, everything that made his debut film feel fresh has now curdled like bad milk with his latest pitch black comedy “Riff Raff.”

The film begins at an isolated cabin where teenager DJ (Miles J. Harvey) holds his step-father Vincent (Ed Harris, repeating many of the same physical beats as his character in “Love Lies Bleeding,” but if he were on Xanax) at gunpoint. Via voiceover, DJ tells us that he was supposed to start as a freshman at Dartmouth soon, but that, if he starts at the beginning of the story, why he’s now holding this gun will all make sense. The story then cuts to the past, where his step-brother Rocco (Lewis Pullman, doing his best to add layers to a one-note character) flees a violent scene with his very pregnant girlfriend Marina (Emanuela Postacchini). The two are being pursued by gangsters Leftie (Bill Murray, with a great Boston accent, but operating largely on autopilot) and Lonny (Pete Davidson). The lovers on the run eventually make it up to Maine where DJ, his stepfather, and his mother Sandy (Gabrielle Union) have come to celebrate New Years. They’ve also brought Rocco’s horny and abrasive mother Ruth ( Jennifer Coolidge ) along for the ride, drugging and gaslighting her about why she’s there before the truth comes to light.

The balance between abject violence and broad humor only works because of the comic prowess of the cast — with Coolidge, of course, the true standout. It’s a shame then that her character is so poorly developed that without Coolidge’s signature wit Ruth would just be a pile of clichés stacked up in a leopard print coat with teased up hair. Union’s Sandy is equally underdeveloped, although a half-assed flashback revealing the classicist bigotry of her parents when she introduced them to Vincent attempts to add layers. The worst is pregnant Marina, who is a stereotypical Italian girl who loves babies, cooking when she’s nervous, and doesn’t seem to have a single thought or dream of her own. Instead she’s always mothering DJ or discussing the concept of “the one” as if all life’s choices are rooted in finding and keeping that person, no matter the cost.

That is, except for P.J. Byrne and Brooke Dillman as a couple of nosy neighbors, who manage to steal a whole scene out from under Murray and Davidson. Since his breakout in “Babylon,” Byrne has shown himself to be a stellar character actor and one whose presence adds a dash of color to any project he’s in. Their scene also acts as one of the few moments where the film actually attempts to comment on the class distinction it sets up between Vincent’s new life with Sandy and his old life with Ruth. Yet, like almost everything in the film, this thread is largely unexplored, left dangling haphazardly in the wind.

DJ’s narration is inconsistently deployed and fails to truly root the film in his perspective, adding to its incoherent tone and overall sloppy execution. His final monologue attempts to paint the whole film as a parable about messy families. But really, the only thing the film’s bloody finale accomplishes is illustrate just how violent, literally, the concept of “the one” is. In fact it works so well as a punchline, it makes it even more bizarre that the filmmakers didn’t bother to find a better way to set up the deconstruction of that concept earlier in their film.

“Riff Raff” world premiered at the 2024 Toronto International Film Festival.

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Knock Knock movie review & film summary (2015)
Knock Knock. A couple of sexy, scantily clad and soaking wet young women knock on the door of a happily married, middle-aged husband and father of two—who happens to be home alone on a long, holiday weekend—in Eli Roth 's "Knock Knock.". The words "Eli Roth" in front of the title should tell you that it won't just be about ...
Knock Knock (2015)
Rated 5/5 Stars • Rated 5 out of 5 stars 09/01/24 Full Review Korra N Knock Knock is a mess of a movie, and while a lot of it is bad (Roth's direction, the tonally jarring and nonsensical script ...
Knock Knock (2015)
Knock Knock: Directed by Eli Roth. With Keanu Reeves, Lorenza Izzo, Ana de Armas, Aaron Burns. A devoted husband and father helps two stranded young women who knock on his door, but his kind gesture turns into a dangerous seduction and a deadly game of cat and mouse.
Knock Knock
Full Review | Original Score: 4/5 | May 7, 2019. Chloe Leeson Screen Queens. Despite the lack of gore for horror hounds are used to from Roth's previous work; there is no doubt a maturing ...
Knock Knock (2015 film)
Knock Knock is a 2015 thriller film [a] directed by Eli Roth, [6] who also co-wrote the script with Guillermo Amoedo and Nicolás López.The film stars Keanu Reeves, Lorenza Izzo and Ana de Armas.The film was released on October 9, 2015, by Lionsgate Premiere. Knock Knock is a remake of Death Game (shot in 1974, not released until 1977), which was directed by Peter S. Traynor and starred ...
Knock Knock
Knock Knock - Metacritic. 2015. R. Lionsgate Premiere. 1 h 39 m. Summary When a devoted husband and father (Keanu Reeves) is left home alone for the weekend, two stranded young women (Lorenza Izzo & Ana de Armas) unexpectedly knock on his door for help. What starts out as a kind gesture results in a dangerous seduction and a deadly game of cat ...
Movie Review
Movie Review - Knock Knock (2015) December 10, 2020 by Robert Kojder. Knock Knock, 2015. Directed by Eli Roth. Starring Keanu Reeves, Lorenza Izzo, and Ana de Armas. SYNOPSIS: When a devoted ...
Knock Knock Review
In the middle of the first night alone, two women, Genesis (Lorenza Izzo) and Bel (Ana de Armas), knock on Evan's door, explaining that they're trying to get to a party and are lost. It's raining ...
Sundance Film Review: 'Knock Knock'
Keanu Reeves ' whiny monologue comparing an act of infidelity to "free pizza" is a moment that seems destined for cult canonization in " Knock Knock," Eli Roth 's glossy and reasonably ...
'Knock Knock': EW review
As he grows more and more uncomfortable with the situation he's put himself in, it's clear his scruples don't stand a fighting chance. It's just a matter of time until the other shoe ...
Knock Knock Review
25 Jun 2015. Running Time: 96 minutes. Certificate: 18. Original Title: Knock Knock. If 50 Shades Of Grey opened the door to the return of the sexploitation movie, Eli Roth's latest thriller is ...
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Knock Knock is out in theaters and on VOD Friday (October 9). Ad. Rating: 2.5 out of 5. Don Kaye Eli Roth Keanu Reeves. Written by. Don Kaye @donkaye. Don Kaye is an entertainment journalist by ...
Sundance 2015 Interview: The Cast and Producers of "Knock Knock"
January 29, 2015. 7 min read. In co-writer/director. Eli Roth 's. hormone horror story "Knock Knock," Keanu Reeves plays Evan, a loving father. and husband who's. given an offer he should have refused. When alone at his house for the weekend, two young women appear at his door, Genesis (Lorenza Izzo) and Bel (Ana de.
FILM REVIEW: Knock Knock (2015)
The only redeeming aspect of the film is the psych profile of the two leading actresses. Though they are tame in their torture methods, their idea of seduce and destroy and all their weird ...
Knock Knock Movie Review
Parents say (26 ): Kids say (9 ): Director Eli Roth returns with another loathsome movie, this time gleefully playing around with a home invasion, torture, pedophilia, and revenge but never seeming to know what he wants to say. Details of Evan's supposed pedophilia are kept from viewers, so we have no idea just how bad his crime was -- only ...
Keanu Reeves, as a Cheating Husband, Endures a Comeuppance in 'Knock Knock'
Directed by Eli Roth. Drama, Horror, Thriller. R. 1h 39m. By Glenn Kenny. Oct. 8, 2015. The mildly notorious horror director Eli Roth's work helped bring the term "torture porn" into the ...
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Contains spoilers for "Knock Knock" Based on the 1977 film "Death Game," "Knock Knock" is a disturbing, erotic thriller that follows Evan Webber (Keanu Reeves), a successful architect and family ...
Eli Roth Takes Keanu Reeves To Hell And Back In 'Knock Knock ...
Nevertheless, Knock Knock is another strong example of Eli Roth doing what he does best: Building tension, asking questions, and making the audience uncomfortable. A few bumps aside, Knock Knock ...
KNOCK KNOCK Review!
Knock Knock is far from a good movie, but also far from a bad one, with it more than anything seeming to be an interesting piece in the filmography of Eli Roth. It could act as the turning point ...
‎Knock Knock (2015) directed by Eli Roth • Reviews, film + cast
Synopsis. One night can cost you everything. When a devoted husband and father is left home alone for the weekend, two stranded young women unexpectedly knock on his door for help. What starts out as a kind gesture results in a dangerous seduction and a deadly game of cat and mouse. Remove Ads.
Knock Knock Movie Review (2015): A complex morality tale about the
Knock Knock Movie Review (2015): A complex morality tale about the consequences for our actions, and just a really fun time. Knock Knock was essentially a compilation of Keanu Reeves freak out moments, culminating in an epic, over the top rant/monologue in which he assimilates a 3-some with two girls that show up at his door to free pizza. This ...
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Knock Knock: plot summary, featured cast, reviews, articles, photos, and videos. Knock Knock is a 2015 crime drama starring Keanu Reeves, Lorenzo Izzo, and Ana de Armas. ... This is a truly terrible movie, but it is so much fun to watch. Have no idea what anyone was going for in this movie. Keanu Reeves' line delivery in this is stuff of ...
Knock Knock (2015) Movie Reviews
Limited time offer. While supplies last. When you log into your account on Fandango.com or the Fandango app and purchase a ticket between either 12:01am PT on 8/19/24 and 11:59pm PT on 8/21/24 (the "First Offer Period") for any movie showtime at a participating theater during the First Offer Period, or between 12:01am PT on 8/26/24 and 11:59pm PT on 8/29/24 (the "Second Offer Period ...
'Heretic' Review: Hugh Grant Is Heavenly in a Religious Horror Movie
'Heretic' Review: Hugh Grant Is Heavenly in a Religious Horror Movie About Two Mormon Teens Who Knock on the Wrong Door David Ehrlich September 9, 2024 at 2:22 PM · 7 min read
'Riff Raff' Review: Not Even Jennifer Coolidge Can Save This
'Riff Raff' review: ... 'Heretic' Review: Hugh Grant Is Heavenly in a Religious Horror Movie About Two Mormon Teens Who Knock on the Wrong Door. Most Popular. 1.

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