2015 — Knock Knock

The women are not heroes. They are sadistic and cruel. But Roth positions them as a mirror. They reflect Evan’s own self-destruction back at him. As Genesis tells him before leaving him tied up for his wife to find, "You let us in, Evan. You opened the door."

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The AV Club’s A.A. Dowd gave the film a B-, comparing it favorably to Roth’s other 2015 release, The Green Inferno . Dowd praised Knock Knock for breaking the cycle of Roth’s career, describing it as a "sick home-invasion comedy" that benefits from its intimacy and clever use of a single location. He noted that while there is a "stench of misogyny to the scenario," the film is undeniably effective and shows a new, more controlled side of the director. The women are not heroes

Evan Webber (Keanu Reeves) is a successful architect living in a beautiful home in California. He is happily married to a successful artist, Karen, and they have two children. On Father's Day weekend, Karen and the kids leave for a beach trip, leaving Evan home alone to catch up on work. They reflect Evan’s own self-destruction back at him

By 2015, Keanu Reeves was in a renaissance ( John Wick had released just a year earlier). Casting him as a vulnerable, nerdy architect was a stroke of genius. Reeves plays Evan not as a predator, but as a pathetic, indecisive man-child. His breakdown—sobbing, begging, screaming "It was my birthday!"—is equal parts hilarious and horrifying. Reeves commits 100%, making Evan sympathetic and detestable simultaneously.

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Roth flips the home-invasion genre on its head. The intruders aren't masked psychopaths; they are symbols of repressed desire. The film asks a ruthless question: Is a man who would cheat on his wife given the perfect opportunity truly a good man? Evan’s famous, desperate refrain—"It was just sex! It didn't mean anything!"—falls on deaf ears. The women are not interested in his excuses. They are the living embodiment of consequence, weaponizing the very behavior society often winks at.