Knock Knock (2015)

Knock Knock is a wicked little pressure-cooker of a thriller: it takes a simple, plausible “good deed” and twists it into a gleefully mean, darkly funny nightmare that only Eli Roth would stage with such shameless momentum. The fun, if you’re game for it, is watching Keanu Reeves play against his usual steadiness as the movie yanks him from suburban calm into a loud, lurid moral trap where every choice gets weaponized. It’s shot with a slick, stormy immediacy and a campy, anarchic vibe that keeps the tension high even when the film winks at its own absurdity. Fair warning: the sexual content is explicit and the tone is punishing, so it’s not for the squeamish—but if you like your thrillers nasty, provocative, and a little unhinged, this one delivers.

Knock Knock is clearly trying to be a slick, modern morality thriller about temptation, hypocrisy, and punishment, with Eli Roth leaning into provocation more than subtlety. The problem is that the setup promises a tight cat-and-mouse nightmare, but the writing often pushes characters into baffling choices, and the tension gets undercut by a campy, repetitive rhythm that starts to feel more like a mean-spirited prank than a gripping descent. It’s also extremely sexual and deliberately uncomfortable, so if you’re not up for explicit content used as the engine of the story, you’ll likely tap out fast. On the plus side, Ana de Armas and Lorenza Izzo commit hard to the escalating chaos and there’s a pulpy, trashy energy that some viewers will enjoy—just don’t go in expecting plausibility or a smart, satisfying thriller payoff.