Knock Knock

Je préfère ne pas décrire en quel lieu, dans quelles conditions et à quelle occasion j'ai vu ce film, mais en tout cas, j'ai fait un rêve qui était certainement le résultat de son visionnage. Tous les papas bienheureux qui se voient en parents modèles que deux bombes latinos ne sauraient perturber en auront des sueurs froides ! Knock Knock m’a plu dans son ensemble et je l’évaluerais à un bon trois étoiles. Car c’est plus qu’un bête thriller qu’on regarderait pour se détendre avec une bière et des chips. Ici, il y a un message terrifiant en filigrane – un message qui vous fera réfléchir à deux fois avant d’aborder une jeunette aux allures sexy. C’est bien filmé, bien joué et d’une bonne longueur pour le genre. Pour conclure : ne laissez entrer personne si vous êtes seul à la maison et qu’il pleut dehors, même si on frappe à la porte avec insistance ! (20/02/2017)

Dans la première moitié, Roth maîtrise le développement de la tension entre les personnages et le comportement de l'époux exemplaire de Reeves dans une situation inhabituelle est bien géré. Cependant, dans la seconde moitié, cette construction psychologique cruciale pour le film s'écroule comme un château de cartes et les personnages deviennent irréalistes (et illogiquement) exagérés dans un "film d'horreur" de série B sans cerveau. (06/06/2017)

The first act is brilliant in its own way. If I had to pick a film I thought was made on drugs, this would be among the first – the cheesy portrait of the perfect family, with a theatrical Reeves who seems to have no idea what he's in for, is priceless. Then the two soaked hotties show up to gently torture the exemplary and temporarily abandoned father with their throbbing clitorises, and it's bad. Daddy gets groped and the two sexy chicks turn into emancipated furies who make a big mess of their victim's perfectly ordered life. It's still a great parody, but somehow it dawned on me that Eli Roth was serious, and gradually I found myself internally debating which of the two invasive creatures I'd rather be tempted by. They both won in the end, unlike Reeves, who really can’t put this behind him – but at least his forced wailing is somehow iconic, not far from Nicolas Cage’s in The Wicker Man. The subversive ending was inevitable given Roth's lack of psychology and his Tarantino-like desire to pose. Eventually, though, it holds its own in that regard, and Knock Knock is beautifully goofy, rather than moronic and unwatchable. 55 % (29/06/2022)

A modern fairytale where the fairies wear their panties darn low... More a film for girls than guys. Reeves is absolutely awfully cast and a little outside his comfort zone, but I don’t blame him in the slightest that he agreed to do it. The girls in distress, on the other hand, rock. The most watchable movie from Roth so far. P.S.: The nudity in the movie is harmless. It’s more about destruction than about sex. (13/10/2015)

This film was a big question mark for me before the première. The premise looked uninteresting, ordinary, and utterly unattractive, and I couldn’t figure out why Eli Roth had picked a project like this. But it wasn’t bad after all, quite the contrary, thanks to the ending, I think it’s more entertaining and subversive than I could have ever expected. The worst is actually Keanu Reeves, who is really unfitting for the role of a desperate and helpless father, and his performance is almost funny. (18/10/2015)