In ‘Knock Knock’, Keanu Reeves falls to two Latin beautiful … and is doing very badly – hoylosangeles

OK, so that the matter is clear, the girls co-star in the new thriller “Knock Knock” -from today in movie theaters and next to the popular VoD Keanu Reeves, who play here and some women they seduce and then charge “revenge” because the poor guy was married when she had a threesome with them at home, do Latin American in the film, even though one of them (Lorenza Izzo) is Chilean and the other (Ana de Armas) is of Cuban origin.

This is especially true of Izzo, whose genesis is an American, as was his character as a student activist in the recent “Green Inferno” ; and De Armas is placed on the skin of a Spanish called Bel, resulting in his speech during the few parts that touch you in our language. Of course the issue of nationalities and cultures is the least in a movie that was filmed mostly in Santiago but supposedly developed in the mountains of Hollywood, and for that we must discard prejudices and full of claims depth if they are to have a good time.

We are fully aware that “Knock Knock” already has many detractors, as has happened in general with all the work of its director and screenwriter, Eli Roth, remembered for being the creator of the saga of “Hostel”, with which it established the controversial school of ‘torture porn’; in fact, the controversy seems to be an intrinsic part in the career of an author who recently offended defenders of indigenous groups in the Amazon to introduce a group of Peruvian indigenous as bloodthirsty cannibals in “The Green Inferno”, a comedy horror . full of gore that due to delays in distribution, was launched much later than expected and is still in Billboard

“Knock Knock” can not wake criticisms related to deployment of brutality – it is minimal compared to other works of the same realizador-, but in terms of its narrative simplicity and lack of creative twists to anyone who has seen the trailer and already know where the story goes; and you can not deny that the script, written by Roth in collaboration with the Chilean Guillermo Amoedo, not just because it strives complex nor purposeful. However, under our concept, which has been achieved here it is an interesting variation of the genre of “home invasion” in which the assailants typical male become voluptuous young ladies.

Do not

think that this detail makes we stand before a feminist proposal; in fact, one could say that the opposite is true, as Genesis and Bel are some crazy tie requiring a type Evan practically all well and faithfully lights to have sex with them in order to have an excuse to exercise their misdeeds. But in a case like this, obviously based on the guidelines of the ‘exploitation’, that kind of details are mere subtleties; what matters is that what counts interesting and always keep the suspense, and in this case, with the obvious distances, Roth poses a staging that, believe it or not, remember sometimes Hitchcock or, at least, to De Palma, guided by a stylistic elegance in which there are put aside some perverse erotic aspects, but completely ignore the viscera and guts. Is not it enough?