My 4th favourite film of last year was Eli Roth’s ‘Knock Knock’. Eli Roth is an under-appreciated filmmaker. He is not trying to make the next Shining. His films are a lot deeper than people give him credit for, and this is because he (intentionally) masks his themes with hilariously excessive violence and a cheesy script delivered by terrible actors.

Knock Knock was Roth’s second film released last year, after The Green Inferno (a brilliant social satire). A remake of Peter Traynor’s 1977 film ‘Death Game’, Knock Knock follows father-of-two Evan Webber (Keanu Reeves), who spends Father’s Day weekend alone while his family go away to the beach. Two beautiful women knock-knockity-knock on his door, and all hell breaks loose.

There are a few aspects that make Knock Knock the gem that it is. One is the acting. Keanu Reeves performance is so brilliantly over-the-top that you can liken it to peak Nicolas Cage. The two girls, played by Lorenza Izzo and Ana de Armas, have the amazing ability to be both your fantasy and worst nightmare. Aaron Burns and Colleen Camp also put in memorable performances. If you hate the film, you will at least find the performances entertaining (and that’s a Ryan Rosenberg Guarantee™). Two is how refreshingly perverse it is; Knock Knock is bold and unforgiving, which is rare in today’s safe, politically-correct world of cinema. And three is Antonio Quercia’s cinematography, which is terribly underrated.

I work as a delivery driver, and thus have a lot of time where I am at work with nothing to do. During this time I tend to re-watch Knock Knock, and I think I’ve probably watched it 40 times by now. The greatest thing about this is that I enjoy each viewing as much as the last.

This film is pure sensationalism and I LOVE IT.