In the vast landscape of Keanu Reeves’ illustrious career, from the philosophical depths of The Matrix to the adrenaline-pumping action of John Wick, one film often slips through the cracks: the 2015 erotic thriller Knock Knock, directed by Eli Roth. This overlooked gem, which pairs Reeves with a then-emerging Ana de Armas, is a provocative, unsettling entry in the home invasion horror genre that deserves a second look. Currently available on streaming platforms like Netflix, Peacock, and Tubi, Knock Knock offers a unique blend of psychological terror, dark comedy, and moral ambiguity, with standout performances from Reeves and de Armas that showcase their range in unexpected ways. This article dives deep into the film’s narrative, its innovative take on a tired genre, the performances of its leads, and why it resonates more powerfully in a post-pandemic world, urging audiences to rediscover this misunderstood cult classic.

The Premise and Context of Knock Knock

Knock Knock is a loose remake of the 1977 film Death Game, directed by Peter S. Traynor, which starred Sondra Locke and Colleen Camp. Eli Roth, known for his controversial contributions to horror with films like Hostel and Cabin Fever, helms this modern retelling, co-writing the script with Guillermo Amoedo and Nicolás López. The film centers on Evan Webber (Keanu Reeves), a devoted architect and family man left alone for Father’s Day weekend while his wife, Karen (Ignacia Allamand), and their two children vacation at the beach. One rainy night, two young women, Genesis (Lorenza Izzo) and Bel (Ana de Armas), knock on Evan’s door, claiming to be lost and seeking help. What begins as a kind gesture—offering them shelter and a phone—spirals into a nightmarish game of seduction, manipulation, and psychological torture.

The film’s setting, a sleek, modern Los Angeles home, contrasts sharply with the chaos that unfolds, amplifying the sense of violation when Evan’s sanctuary is upended. Roth updates the original’s premise with contemporary elements, such as social media as a weapon and references to Uber, grounding the story in a digital age where privacy is fragile. Despite its modest $10 million budget, Knock Knock grossed only $6.3 million worldwide and received a lukewarm 37% on Rotten Tomatoes, with critics citing its “repetitive story” and “misguidedly campy tone.” Yet, horror aficionados and genre outlets have praised its bold attempt to innovate the home invasion trope, and its recent surges on Netflix’s Top 10 charts signal a growing cult following.

A Departure from Type: Keanu Reeves as Evan Webber

Keanu Reeves, at 50 during filming, was riding a career resurgence after John Wick (2014) reestablished him as an action icon. In Knock Knock, he takes on a role that subverts his heroic persona, playing Evan Webber as a flawed, morally complex everyman. Evan is a former DJ turned architect, nursing a shoulder injury and working from his upscale home. Reeves imbues him with a relatable mix of warmth and vulnerability, evident in early scenes where he playfully interacts with his family, complete with a “monster” act for his kids. However, this warmth gives way to discomfort as Evan navigates the increasingly aggressive advances of Genesis and Bel.

Reeves’ performance is a study in contrasts. He excels in moments of quiet restraint, such as when Evan hesitantly offers the women towels and a phone, his body language conveying a man trying to maintain boundaries. As the night escalates, Reeves leans into Evan’s unraveling, delivering a raw, almost theatrical intensity. A standout scene occurs midway through the film, where Evan, tied to a chair, delivers a frantic monologue rebuking his tormentors, his voice cracking with desperation and rage: “You were free pizza!” The line, often cited for its dark humor, encapsulates Evan’s realization that his kindness has been weaponized against him. Critics, like Jeff Bond of Geek Monthly, praised Reeves for being “game for the kitsch carnage,” noting that his dramatic turn elevates Roth’s vision.

However, some reviewers argued that Reeves was miscast, suggesting the role—originally written with a more erratic actor like Nicolas Cage in mind—didn’t suit his stoic demeanor. Evan’s character requires a delicate balance: he’s sympathetic yet complicit, resisting temptation but ultimately succumbing. Reeves, still sporting his John Wick long hair, struggles to fully embody the “workaday family man,” as his star power and youthful appearance (he was 50 playing 43, yet looks closer to 30) make Evan seem less ordinary. Despite this, Reeves’ commitment shines through, particularly in scenes of physical and emotional torment, where his expressive eyes convey a man grappling with guilt and survival. His performance, while divisive, adds a layer of humanity to a character who could easily have been a caricature.

Ana de Armas’ Breakout: Bel as Seductress and Psychopath

Ana de Armas, only 26 at the time and making her English-language debut, delivers a performance that is both magnetic and chilling as Bel. In 2015, de Armas was relatively unknown outside Spain, having starred in films like Una rosa de Francia (2006) and the TV series El Internado. Knock Knock marked her Hollywood breakthrough, a role she learned phonetically due to her limited English, as she later told The Hollywood Reporter. Her ability to convey menace through a language barrier is a testament to her raw talent, setting the stage for her later successes in Blade Runner 2049 and Knives Out.

As Bel, de Armas navigates a complex arc, transitioning from a seemingly vulnerable, flirtatious stranger to a calculating predator. In the film’s first act, she and Lorenza Izzo’s Genesis arrive soaking wet, their playful banter and suggestive glances disarming Evan. De Armas’ performance is electric here, using her physicality—wide-eyed innocence, coy smiles—to lure Evan into a false sense of control. As the narrative shifts, Bel reveals her true nature, tormenting Evan with a mix of childish glee and sadistic precision. A particularly harrowing scene involves Bel and Genesis forcing Evan into a mock game show, where de Armas’ delivery oscillates between manic energy and cold detachment, making Bel both unpredictable and terrifying.

De Armas’ chemistry with Izzo is crucial, as their dynamic drives the film’s psychological horror. While some critics found their performances “insufferable” once their true intentions are revealed, others praised de Armas for stealing scenes with her intensity. Her ability to balance seductiveness with menace foreshadows her later action roles, such as in No Time to Die and Ballerina. In Knock Knock, she proves she’s more than a “beautiful young actor,” as some early reviews reductively described her, showcasing a depth that would propel her to stardom. Her performance also carries a cultural weight: as a Cuban-Spanish actress navigating Hollywood, de Armas’ phonetic delivery adds an authentic layer to Bel’s outsider status, mirroring the character’s deceptive facade.

Eli Roth’s Vision: Innovating the Home Invasion Genre

Eli Roth, often credited (or criticized) for popularizing “torture porn” with Hostel, takes a different approach in Knock Knock, blending psychological horror with dark comedy and social commentary. Unlike the visceral gore of his earlier work, Knock Knock relies on tension and moral ambiguity, using the home invasion trope to explore themes of temptation, infidelity, and societal judgment. The film’s setting in Chile, where it was shot for cost efficiency, adds a vibrant backdrop, with lush cinematography capturing the contrast between Evan’s pristine home and the chaos unleashed within it.

Roth’s script updates Death Game by incorporating modern technology—social media, Uber, and smartphones—as tools of manipulation. The women use Evan’s own devices against him, posting incriminating content online, which adds a layer of contemporary dread. The film also critiques gender dynamics, particularly in its post-#MeToo context. Some viewers interpret Genesis and Bel as avengers punishing male infidelity, though others argue the film risks perpetuating stereotypes about manipulative women. Roth himself described the film as a “comedic approach” with physical humor, evident in moments like Evan’s clumsy attempts to escape or the women’s exaggerated theatrics.

The film’s tone, however, is its most divisive element. The campy, almost absurdist humor—such as the “free pizza” line or the women’s mock game show—clashes with the darker psychological torment, leading to mixed reviews. Horror outlets, however, lauded Roth for subverting expectations, with Geek Monthly noting that the film “innovates the tired home invasion genre.” The inclusion of a dog named Monkey, a nod to Reeves’ John Wick persona, adds a wry touch, though its presence underscores the film’s tonal inconsistency.

Post-Pandemic Resonance and Cult Potential

Knock Knock has gained renewed attention in recent years, particularly on streaming platforms. Its resurgence on Netflix’s Top 10 list in 2020 and 2025 suggests audiences are rediscovering its unsettling premise. The film’s exploration of home as an unsafe space resonates deeply in a post-pandemic world, where many spent extended periods isolated indoors, blurring the lines between sanctuary and vulnerability. As one review noted, “Knock Knock reminds us that dangers are often closer than we imagine,” a sentiment that hits harder after global lockdowns.

The film’s cult potential lies in its polarizing nature. While critics gave it a 37% on Rotten Tomatoes, horror fans on platforms like Reddit praise its “insane” energy and Reeves’ “hilariously bad” yet compelling performance. Posts on X echo this, with users calling it a “guilty pleasure” for its blend of eroticism and absurdity. De Armas’ early role also draws viewers, especially as her star power grows with Ballerina, a John Wick spin-off where she reunites with Reeves. Their prior collaboration adds a layer of intrigue, as does de Armas’ anecdote about meeting Reeves and sheepishly admitting she hadn’t seen The Matrix.

Why Rediscover Knock Knock?

Knock Knock is not a perfect film. Its tonal shifts, from steamy thriller to campy horror, can feel jarring, and some plot points—like the women’s vague motivations—frustrate viewers seeking clarity. Yet, its flaws are part of its charm, offering a raw, unpolished look at two actors pushing their boundaries. Reeves, often typecast as a stoic hero, embraces vulnerability and desperation, while de Armas showcases a fearless intensity that hints at her future stardom. The film’s exploration of trust, betrayal, and the fragility of domestic life remains relevant, especially in an era where digital footprints amplify personal consequences.

Streaming platforms make Knock Knock accessible to new audiences, and its compact cast—only nine major characters, including Monkey the dog—creates an intimate, claustrophobic experience. For fans of Reeves’ action heroics or de Armas’ polished performances, the film offers a chance to see them in a raw, experimental light. Its blend of psychological horror, dark humor, and social commentary invites viewers to grapple with uncomfortable questions about morality and temptation.

In conclusion, Knock Knock is a bold, divisive entry in the careers of Keanu Reeves and Ana de Armas, a film that challenges expectations and rewards those willing to embrace its quirks. As streaming breathes new life into this forgotten thriller, now is the time to revisit Evan Webber’s fateful night and the two women who knock, proving that even the most unassuming doors can lead to unforgettable chaos.