Movie Review: Knock Knock

Director: Eli Roth / Starring: Keanu Reeves, Lorenza Izzo, Ana de Armas, Aaron Burns & Ignacia Allamand / Writer(s):  Michael Ronald Ross(original script), Eli Roth, Nicolás López, Guillermo Amoedo & Anthony Overman

'Knock Knock' is a thriller about a 40-something husband and father who's spending his weekend alone at home while his family is away when two stranded young woman unexpectedly knock on his door for help. What starts out as a good gesture quickly turns to a decision Evan will regret for the rest of his life.

Evan(Reeves) is an architect who lives in a big house in well-to-do suburbia, has two beautiful children and an "exotic" artist wife(Allamand). He seemingly has the perfect life despite one slight flaw: he and his wife aren't having sex. The film starts out offering a bevy of evidence as to why he may or may not deserve everything that he has coming to him, but also all but explicitly says "hey, look at how great this guy's life is, but wait! he's not having sex with his wife? THAT SUCKS... DOESN'T IT?"

It does a decent job of setting things up, but it's heavily leading which isn't exactly bad thing as long as you're not doing it in way that makes sure anybody who's seen enough movies can predict what's gonna happen. And that's exactly what this film does. You could file this under the Chekov's gun principle, but depending on the crowd, it could either be seen as something neat or a plain cop-out. I think what separates those two crowds is 1) what the device is and its overall effect on the plot and 2) whether or not the time between when the Chekov's gun device is presented and when it's used is enthralling enough to make you forget it even if only for a moment. And in this movie said time is partly engaging, but the device(Evan's should injury) is inconsequential so it's definitely a cheap cop-out.

Evan's family goes away to their beach house for the weekend while he stays back to finish some work. When the two lost young women, Genesis(Izzo) & Bel(Armas) show up on Evan's doorstep soaking wet from the rain, he does what a decent human being would do, right? Keenu Reeves is notorious for his kind and solemn nature in real life and genuinely feel that part of him here so it's not a hard sell to believe he'd do something exactly like this in real life. Though, concerning his role solely you can't help but think from that slight twinkle in his eye that he might just be interested in doing more than helping the two young women.

Evan let's Genesis & Bel in, puts their clothes in the dryer and talks to them while waiting for a uber. Genesis & Bel soon try to flatter Evan and begin to casually talk about sex, alternative relationship dynamics and the supposed falsity of monogamy. They talk about sex in general in an idealistic way, which in theory is fine, everybody has their own lifestyle, but they talk about it in a way that's geared to appeal to any whoremongering man so you know this particular rhetoric is coming from these two not because they genuinely believe in it, but are simply using it as a tool of seduction, a way to warm Evan up to the idea of sleeping with them. And you can see he might be susceptible to it by the way perks up when compliment him and pretend to be interested in his djing days.  And sure enough, when he doesn't get the hint they resort stripping down naked, spewing some perfectly generic dirty talk straight out of a porno and he falls for it.

Once the deed is done, Evan wakes up the next day to Genesis & Bel running amok through his house, completely devoid of any maturity they seemed to have the night before. He eventually gets them to leave but things go dark when they return. They tie him up, torture and rape him. It's revealed they're playing at some sick game, punishing him for falling victim to their seduction. "I'm a good person. I made a mistake!" Evan says, decrying acts... adding that he loves his family and he's a good father. "Why didn't you think about your family when you were inside me?" to which he replies "My family had nothing to do with that." Exactly. But sadly, at that point in the film that's where any inkling of intelligence concerning the topic of infidelity stops.

Genesis & Bel are intelligent and resourceful, but their motives are poorly elaborated. It appears Bel's motivation stems from sexual abuse and Genesis' from a sense of resentment she has to the upper class. Solid motives, but not delved into enough to make you care. This could've been remedied with some compelling back and forth between Evan and the girls, but instead Roth opts out for some sequences of thrill that are quickly deflated by all too convenient instances of happenstance and half-hearted dialogue intent on delivering a message that's already overstated in society: cheating is bad. It's ironic that the common complaint about Roth's work is that he's indulgent when it comes to gore because he's surprisingly tame here and it's to the film's detriment.

Lorenza Izzo & Ana de Armas are fine actresses here, the script is just weak. Keanu Reeves plays the repressed family man, framed as the innocent and he does the gentle part of it well, but it's later revealed he's phoning it in when he hams up the scenes where he's upset. This is a film that had good actors, a premise with potential but just doesn't measure up in the end.

Movie Review: It Follows

It Follows(2014)

Writer/Director: David Robert Mitchell

Starring: Maika Monroe(The Guest), Keir Gilchrist(It's Kind of A Funny Story), Lilli Sepe, Olivia Luccardi, Jake Weary

"I wasn't trying to hurt you, okay? Someone did this to me too."

Remember the scene in Scream where Randy explains the rules of horror movies? Specifically the bit where he says "You can never have sex!" This film is the concept of that horror convention brought to life. It's no coincidence that that conversation takes place in the middle of them watching John Carpenter's 1978 classic 'Halloween' which 'It Follows' has a ton of nods to, and has drawn of comparisons to Carpenter's work in general. Fun fact: the special make-up effects producer for this is Robert Kurtzman of the legendary KNB EFX Group, who actually worked on a few Carpenter films.

Like any good ol' fashion slasher, which this really isn't, 'It Follows' begins with the first victim. It opens on a frantic young girl in the suburbs running out of her house into the middle of the street wearing something like pajamas with a pair of high-heeled shoes on. I guess this is supposed imply that she's promiscuous or something? I mean I know it's a common trope for a horror, just looks odd here. This is the only part I felt that was unneeded. Not the opening all together, but just those heels. Outside of that one detail, the film really isn't too judgmental. Anyways... after the girl runs out into the street and stares back at her front yard for a beat, she doubles back across the street back into the house and comes back outside to get in her car then drives off. She ends up sitting on the beach crying and apologizing on the phone to her parents, telling them she loves them. In the middle of her apparent goodbye we're suddenly seeing from the girl's POV and same as she did back in her neighborhood, she's stares off in the distance as if someone or "something" is there. It cuts to a shot of the girl's tattered corpse in an odd pose. This is an eerie, graphic opening that sets the tone for the rest of the film. One thing I noticed early, and loved about the film, is that there's no specific time period for which all this takes place in. In the beginning of the film, we see one or two newer cars, but after that there's nothing but cars from the 60s, 70s & 80s. There are TV's, but they're always playing 50s black-and-white horrors. There's no cellphones, but one of the characters has an kindle-like device that looks like a little clamshell. It gives the film a sense of timelessness that it will definitely benefit from in the future.

We're first introduced to our lead girl, Jay(Monro), via voyeuristic far shot of her cleaning her pool then onto a brief introduction to her family and friends, we then see her at the movies on a date with this guy named Hugh(Weaver). The date seems to be going well until the guy gets the spooks and says they have to leave. The second date goes smoother and they end up laying out by a lake. This film doesn't have flashy or particularly amazing cinematography, but here I noticed that most of the exterior shots are right out of a classic horror. I mean duh, when I see Jay and her sister walking through the neighborhood I think Halloween, Michael Myers is just around the corner, but this isn't just David Robert Mitchell employing Carptenter's audiovisual aesthetic. Almost every other shot is framed in a way where it feels like something bad could happen. Yes, I know that's typical of a horror film to have a heavily ominous tone, but when I say I feel like ANYTHING bad could happen I mean that when I see Jay waiting in line at the movies with Hugh, I think Demons(underrated zombie flick right there). When I see Yara(Luccardi) swimming in the water at the beach, I think Jaws. When I see Jay & Hugh sitting by the lake, I think Friday The 13th, any moment Jason could just jump out and drag them away. A better way to say it is that the atmosphere of the film is similar to the likes Scream or The Cabin In The Woods, but it's not as blatantly meta as those films. There's such a nonchalantness to the characters about the ever-present dangers looming around them that leads me to believe they are aware of this world, a reality that's drenched in the conventions of horror films and just don't care. That could just be my imagination being overactive, but if it's intentional it's brilliant.

Things go awry during Jay & Hugh's second date after they have sex... Hugh chloroforms her and ties her to a wheelchair. When she wakes up he explains that when they had sex he passed "something" onto her and that "It" will follow and kill her then come back and kill him unless she "gets rid of it" by passing it along someone else the same way someone else did to him. "I'm doing this to help you... just so you know it's real" he says as they sit and wait for it to come. Yeah... this guy's a dick. The rules are: It can be anywhere or anyone. Don't go into places without more than one exit and never let it get close enough to touch you. The monster, creature, whatever It is, is hard to explain outside of how terrifying it is. All that can be said is that it's some kind of entity(possibly supernatural, I really dunno) that exist on our physical plain with only select people being able to see it. It's really slow, but it's relentless and if it gets ahold of you it's a wrap.

After Hugh drops Jay off in front of her house half-naked and peels off, the rest of the movie is what can be described as a long, terrifying steady-paced chase scene. Jay, her sister & their friends are going from place to place avoiding It and just when you think you've got this film all figured out the characters end up enacting one of the dumbest/boldest confrontations I've seen in a horror movie recently. It seems a lot of people have been confused by the themes of the film. It isn't hard to pin down if you try not to think too hard about it, but I what I did find a bit confusing is how Hugh explains to Jay how he got "It" and what it does. Like, how could you know all of that and still be alive? And even if someone else told him, how'd they find out? Best not to labor over details like that when it comes to horror, though. Hugh explaining the mechanics of "It" does reinforce my belief that this is cautionary tale about the dangers of unprotected sex despite write/director David Robert Mitchell saying using contraception won't stop It from being passed onto you. And we never did seen anyone use protection, plus he also says that he intentionally left the subtext vague so there's all of that that. I spoke a little on the semi-vintage feel of the film and how it maintains the atmosphere and some conventions of classic horrors. It does do all of that, but it also subverts those conventions and makes it's own rules. It's unique and a lot more cerebral than most horrors coming out todau. Not only does it offer something new to be afraid of for a whole new generation of horror fans, it also makes you reflect on what you're afraid of and why you're afraid of it. While I have expressed my own opinion as to what this film is about, I can completely see how it can defer from someone else's interpretation. Fear takes on many shapes depending on the person. It's a scary prospect, but also an intriguing thing to think "what/who would follow me?" Whether you're interested in that question or not, I highly recommend this film.

Movie Review: Fifty Shades of Grey

Fifty Shades of Grey(2015)

Director: Sam Taylor-Johnson

Writer: Kelly Marcel (screenplay), E.L. James (novel)

Starring: Dakota Johnson, Jamie Dornan

"I don't make love, I fuck... hard."

I can pinpoint the exact moment I first time ever came into contact with Fifty Shades of Grey(rarity for me that my memory can ever be so precise.) It was back in 2012 when the book(s) first got hot, I hadn't heard anything about them then there was a skit about it on Saturday Night Live. The first time I really became familiar with the books was when my girlfriend was reading the trilogy, she'd tell about bits and pieces of it. For the ever so slight chance that you may not be familiar with this material, Fifty Shades of Grey is about an extended love affair between a shy, virginal college student Anastasia Steele & enigmatic billionaire(not really specified what for) with some dark sexual kinks, Christian Grey. They meet by chance when Anastasia steps in for her sick roommate to interview him for their school paper. Nothing new, archetypal fantasy-romance. Girl meets vampire billionaire-boy, they fall in love, but something keeps their romance coming into full bloom. What could that be? I'm sure that the key demo for this film weren't watching for that question, but, to me, it's the most interesting part of it.

There's fireworks as soon Christian & Anastasia meet. He sits behind his desk looking over to her and she's flustered I take it because she finds him to be handsome? To be completely honest, his face looks like a potato to me, but hey... this is the guy. Couple that attraction with his cold, domineering presence and you can tell it's even harder for her to contain herself by her stammering and avoiding eye contact. There is definitely chemistry is here, but it's not in the dialogue because that's one of the worse parts of the film. Setting the trend for the rest of the film, this scene in his office is all is all visual stimuli; the piercing stares, quick shy glances, the pencil biting, desk grabbing, etc. It's foreplay. And that subtle lust-filled tension spills over to after the interview ends when Christian walks her to the elevator, it looks as if he wants to take her right then and there. The elevator doors close and Ana hastily bursts out of the building washed with wave of relief... a contrast to her clumsily falling into his office. Even more sparks fly the next time they meet when Christian pops up at her job(creepy much?) at a hardware and buys rope, tape & cable ties. Here another trend is set for the film: Christian's creepiness. At the counter when he's paying for his things, after he agreed to take pictures for Ana's friend's article, her male co-worker, Paul, comes up behind her asking if she needs him to bag the items for her(when they're already in the bag.) Christian looks at the guy like he could kill him(to be fair, he did unnecessarily touch her.)  If it wasn't clear before that he wants her, it is now. It's also clear that her already sees her as his.

At the photo shoot Christian damn near interrogates Ana asking if she's involved with the photographer or her co-worker. She assures him she isn't. Afterward he takes her for coffee and things come to screeching halt when she mentions she's a romantic. He tells her he's not the man for her and that she should steer clear of him. It plays like a breakup scene which feels premature when they JUST met like two days ago. That same night Ana goes out to a bar with her roommate & the photographer. She gets tipsy and drunk-calls Christian who, even more possessively sounding than when prying into her dating status, says her he wants her to go home, asks where she is, and eventually says that he knows where she is and is coming to get her. Shortly after that, Ana stumbles out of the bar with the photographer trailing behind her who acts like he has good intentions, but really just tries to come onto her while she's inebriated. Christian pops up in just the nick of time to snatch her away... one creep combating another. The next day Ana wakes up in Christian's hotel room to new clothes and room service. Christian walks in, draped in sweat, he takes his shirt off and says "if you were mine, you wouldn't be able to sit down for a week." and she's like "What?" then he seductively(I guess) bites the toast right out of her hand. She asks Christian why she's there and he replies, as robotically as humanly possible, that he's incapable of being away from her. Ana says "Then don't." and we're off to the races.

Here begins the best and most interesting part of the movie; not the fantasy ride Christian takes Ana on with the helicopter, the big penthouse or the steamy sex that's undoubtedly catered to the female gaze(not saying there's anything wrong with that.) Next to Seamus McGarvey's beautiful & narratively involved cinematography, it's the emotional tug-of-war between the two that compels. After Christian tells Ana that he doesn't do romance he eventually shows his playroom famously known as The Red Room of Pain. He gives her a glossary of BDSM terms & tools and offers her a contract to be his sub which outlines what's to be expected of her. He claims he wouldn't have sex with her until it's signed, but after she shows reluctance and admits to being a virgin, Christian in a creepy way, is turned on by her purity and ends up having sex with her anyways. The churn in the blending of their worlds that follows suit. For the rest of the film they go back and forth over her signing the contract, still having sex (I've NEVER been more tired of seeing a woman's breasts than after watching this movie.) And we see the two start to rub off on each other; To reflect Christian, Ana becomes more stylish, her sexual appetite grows, she becomes more possessive, Dakota Johnson really immersed herself into this role. And to reflect Ana, Christian becomes more affectionate, more romantic, his steely demeanor is just peeled back in general. Unfortunately Jamie Dornan is flat all across the board with his portrayal of Christian Grey. I get he's supposed to be a cold blooded character, but there are pinpoint moments in pieces of the dialogue where he's just absolutely cringeworthy. Like the way he says dominant & submissive instead of dom & sub. That can be contributed to writing that already isn't great, but when you add Dornan's wooden delivery it just comes out even worse. He brings no nuance or charisma to the role.

When it all comes to a head and Christian finally gets a taste of what he initially wanted from Ana, she's disgusted and flat-out rejects him. I know Christian is a creep, but I still felt some sympathy for him knowing that he was a victim of abuse. The whole lore of this initial installment in the series is Christian's suave & dominant persona, but he's really a damaged person. So this shouldn't be an indictment of BDSM practices, but of his past. The film's ending is quite abrupt. Though, it feels incomplete, it denotes to me in it's brevity a statement by James & Taylor-Johnson saying this is it. Anastasia said it was over and it is. As if the scene at the elevator that mirrors the exact moment where it all began didn't underline this sentiment, the film ends with a shot of Christian being distant in a meeting and the look of film has reverted from it's vibrant scheme back it's bleak grey one to signify Christian's state of mind and then smash cuts to black. I could be looking too much into it, but that's my honest take informed by the rest of the film. As a fan of the books my girlfriend wasn't crazy about it, but exceeded my expectations. It doesn't soar to the heights of something like Von Trier's Nymphomaniac, but succeeds in overshadowing it's source material by being a refreshing and somewhat insightful erotic drama that on top of having a female gaze also displays an interesting juxtaposition of the roles in a heretonormative relationship.