But he senses that it might be him, in one way or another.Ī devoted husband and father on his own for the weekend has his life turned inside out after giving shelter to two young women during a storm. Gradually, however, he realizes their intentions are definitely not innocent.Īs they continue to make more and more requests, it becomes even less clear exactly what they’re after. A happily married man (played by Keanu Reeves) allows two girls (played by Ana de Armas and Lorenza Izzo) into his house to dry off, get out of the rain, and use the phone. It very well could be! What is Knock Knock about?ĭuring a downpour, there’s a knock at the door. In the meantime, let’s take a closer look and see if Knock Knock is just what you’re after in a thriller this November. The movie may just be the perfect fall thriller, but you’ll have to watch and see for yourself. Currently, it’s at the number 3 spot on the streaming service’s Top 10 list. Lately, Knock Knock has had a resurgence in popularity with Netflix audiences. But of course, the modern version is full of a new set of twists and takes on what inviting terror into one’s home can look like. Starring Keanu Reeves, Lorenza Izzo, and Ana de Armas, this 2015 flick directed by Eli Roth is actually a remake of the 1977 film Death Game. So maybe Knock Knock debuting in 2015 was ideal, as it was one of the last times a movie could just be a movie.In the mood for a titillating thriller? How about a classic horror movie game of cat and mouse? Netflix has you covered with Knock Knock. The election of Donald Trump led to a presumption, fair or not, that most folks view a movie or TV show in the most harmful way possible, which has led to a new strain of “depiction = endorsement” criticism. Knock Knock opening after the 2016 presidential election surely would have inspired think pieces arguing that the film plays into “women by lying” stereotypes, no matter how specific the circumstances of this singular narrative happen to be. Would Knock Knock, released after the unofficial start of the #MeToo movement in a healthier landscape for theatrical horror, starring a peak-popular Keanu Reeves and a post- Knives Out Ana de Armas, played better in theaters in early 2020?Įven if Roth intended the film to be a political/social screed, the movie again gives Reeves’ tempted protagonist a few chances to avoid giving in to his urges. That’s not a qualify judgment, but when the biggest-grossing non-franchise horror movie of 2014 is Deliver Us From Evil ($114 million) and the biggest of 2015 is The Visit ($98 million), well, I was pretty worried at the time. The film also debuted during what I’d argue was a commercial slump period for mainstream theatrical horror, between the franchise-starters of 2013 ( The Conjuring and The Purge) and the mid-decade revival ( Don’t Breathe, Split, Get Out) that would position high-concept horror as one of the more reliable theatrical sub-genres. John Wick: Chapter 3 earned $322 million worldwide months after Replicant earned $9.3 million. However, Reeves in a conventional, non-IP star vehicle is no more bankable in a branded/IP era than most stars who aren’t named Leonardo DiCaprio. Even IP like The Day The Earth Stood Still and Constantine were successful as Keanu Reeves fantasy vehicles first, because, like DiCaprio (and Sandra Bullock) he’s still bigger than the franchise. The trick to Reeves’ stardom is that he still has the ability to create original marquee characters (Ted Logan, Jack Traven, Thomas “Neo” Anderson, John Wick, etc.) on the regular. Knock Knock is yet more evidence that audiences are willing to sample star-driven studio programmers as long as it’s essentially delivered to their TV free of charge.
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