Throughout, Evan tries to politely navigate the situation, bobbing from chair to chair, trying to avoid these girls’ clear advances. Curious inquiries turn into flattery, flattery turns into light physical contact, light physical contact turns into rubbing up and erstwhile embraces. The girls are grateful, bubbly, and seemingly into him.įor a while, Knock Knock is content to watch the playfully tense give-and-take between Evan and the girls as they try to sidle up to him. Evan reluctantly invites them in from the rain, then he gets them an Uber. A driving rainstorm starts, and soon enough, two beautiful, drenched party girls in hot pants and heels - Genesis (Lorenza Izzo) and Bel (Ana de Armas) - show up at the front door, claiming to have gotten lost on their way to a party. It’s Father’s Day, and they’re about to leave for a brief holiday, but Evan has to work, so he stays behind in the empty house while wifey and kids go ahead of him. Set over the course of a day, the story begins with Evan and Karen and their two young children in seeming familial bliss. It’s an image the film returns to over and over again in its first half, and one can’t help but dread what might be lurking at the end of those spaces. Then Roth’s camera glides through the corridors of the house, making sure to linger on the family photos adorning the walls. It starts off well, with a camera gliding over the Hollywood hills and locating the well-appointed, sheltered home of forty-something architect Evan Webber (Keanu Reeves) and his artist wife Karen (Ignacia Allamand). But for the first thirty or forty minutes of Knock Knock, I thought maybe this was the one. I’m still waiting for Eli Roth to make a good movie.
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