Perigosas Tentações

Na primeira metade, Roth lida bem com o desenvolvimento da tensão entre os personagens e o comportamento do marido modelo de Reeves numa situação invulgar. Mas na segunda metade, esta construção psicológica, crucial para o filme, desfaz-se como um castelo de cartas, e as raparigas tornam-se sem propósito (e ilogicamente) personagens exageradas dum «horror» de filme B sem cérebro. (06/06/2017)

Eli Roth's sexually charged appetizer before The Green Inferno was pretty good. Knock Knock doesn't lean too much on horror, rather it attacks the psychological components, which in my opinion could have been escalated much more aggressively, but it’s still decent entertainment with an erotic. The beautiful Ana de Armas induces an erection every time she's in the frame, and I don't think I've seen a more arousing threesome in a horror film. Story 6/10, Atmosphere 6/10, Gore 1/10, Visuals 8/10, Action 5/10, Entertainment 7/10.70% (10/10/2015)

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)

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. (12/10/2015)

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)