The second half of “Knock Knock” is where these libidinous chicks come home to roost at Evan’s place, knocking him out, tying him up, and tormenting him in a spirit of class grievance, gender grievance, and then in a spirit of pure gender-less nihilistic malevolence.
The two intruders flirt with him in subtle and not-so-subtle ways - “Sex with boundaries isn’t really sex,” offers Genesis - until they finally get his pants down and yell “Happy Father’s Day!” in unison while they fellate him. (It only took the original 20 minutes and barely any conversation beyond Seymour Cassel‘s very weak protest, “I’m a happily married man!”) Reeves plays Evan as a simple guy who has to be carefully and obviously led to the slaughter check out the dopily pleased look he gives Genesis and Bel when they say his wife is beautiful.
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See Video: Sundance: 'Knock Knock's' Keanu Reeves, Eli Roth Talk About Being HomewreckersĢ015 is a more conservative time than 1977, and so it takes a full 40 minutes to get Evan into bed with the girls. At age 43, Evan has been hibernating as a family man, and there is a sense in “Knock Knock” that he is waking up from one dream and falling into another one. Reeves retains his “Whoa dude” likability here, and he plays these first scenes with the girls in a way that indicates that he is not sexually interested in them yet he is not not sexually interested in them. Gentlemanly Evan offers Genesis and Bel a pair of robes and gradually begins to open up about his former life as a DJ. They’re lost, they say, and they really need to get their bearings and maybe, you know, dry off, which of course necessitates them taking off their wet clothes… He gets up and answers his door and finds two wet and sexy young girls outside, Genesis ( Lorenza Izzo) and Bel (Ana de Armas), who ask him for directions to a party. Night falls and so does some rain, and just as Evan is about to light up he seems to hear something. Karen and the kids go off for the weekend and leave Evan alone for Father’s Day, when he plans to get some work done and smoke a little weed. See Video: Keanu Reeves Gets Tied Up by Gorgeous Psychos in Eli Roth's New 'Knock Knock' Trailer
We see Evan trying to have sex with Karen, but then they get interrupted by their kids, and it is established here that Evan is a good, playful father and also that he hasn’t had sex with his wife in three weeks because of scheduling conflicts. The walls are covered in narcissistic posed photos of Evan with his artist wife Karen (Ignacia Allamand) and their two picture-perfect young kids, and much of the other available space, both inside and outside of the house, is taken up by Karen’s Antoni Gaudí-inspired sculptures. The opening scenes of “Knock Knock” are brightly lit in the usual visual style for romantic comedy as the camera takes in the large Hollywood house of architect Evan Webber ( Keanu Reeves) and his family in a voyeuristic way that makes it feel like we are spying on them.
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But “Knock Knock” is very much its own movie, and Roth deserves some credit for keeping the updated narrative fairly plausible and also for moving it forward energetically. Director Eli Roth‘s “Knock Knock,” a remake of the 1977 exploitation picture “Death Game,” sometimes plays more like a comedy than like the grungy thriller that inspired it, but that’s often all to the good.Ĭolleen Camp, who co-starred in “Death Game,” is a producer on this version (and Roth has given Camp a funny little cameo in it), while her co-star Sondra Locke is credited as an executive producer along with the director of the original, Peter Traynor.
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