Knock Knock is based on a 1977 film called Death Game (Peter S. They want to lure Evan into having sex with them-and then they want to punish him for it. The two twenty-something young women of Roth’s film have something else in mind than love, marriage, and babies. Genesis and Bel, it turns out, have not the slightest interest in a relationship with Evan-unlike the ill-fated Alex Forrest (Glenn Close) in her inexplicable pursuit of the slimy Dan Gallagher (Michael Douglas). In fact, the film is interesting when it becomes clear it’s not Fatal Attraction. I went into Knock Knock expecting it to be a version of Fatal Attraction (Adrian Lyne, 1987)-which it’s not. I get how someone could feel that way about Knock Knock, but then horror films are supposed to push people’s buttons-and “downright disgusting” is a phrase that signals there’s probably something interesting going on.
She writes that she considers the film “frontrunner for the worst film of 2015” and that it’s “downright disgusting.” Revenge Honey of The Horror Honeys launches an angry attack on the politics of the film, and she nails its more objectionable qualities-its racism and homophobia as well as the way it can certainly be viewed as making a mockery of child abuse. “Knock Knock” is rated R for “disturbing violent behavior, strong sexual content, nudity and language,” i.e., everything anyone really wants from a movie.Genesis (Lorenza Izzo) and Bel (Ana de Armas) arrive at the doorĮli Roth’s Knock Knock has been receiving mostly dismal reviews, as well as a few more outraged assessments. Not to mention a few surprises, the most pleasant of which is the ultimate fate of Evan’s dog. “Knock Knock” ends on a not entirely satisfactory note, but delivers a pretty mean genre wallop getting there (with almost zero gore). 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. 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. Matters escalate to the point where Evan is tied to a chair, awaiting ultimate “punishment” for his adulterous transgression. Evan’s sexy dream turns into a waking nightmare the next morning, when he discovers that his new friends have trashed his kitchen. (Their mobile phones are drenched, too.) The next half-hour of double entendres ends with Evan’s virtue compromised, not so unpredictably. 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. 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. 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. Here the torture is meted out by two women who initially embody a pornographic male fantasy. 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.
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