The latest take on the home invasion scenario, from director Eli Roth and cowritten by himself, Nicolas Lopez and Guillermo Amoedo. Roth’s involvement was for me slightly balanced out by Keanu Reeves’ appearance in top billing here, leading to the conclusion that this probably wasn’t going to sink to the lows that Roth’s ‘Hostel’ (05) did, for example, and that assumption proved accurate although much of this film simply doesn’t lead anywhere at all with a ratio of about twenty percent horror to sixty five percent flat nothingness with limp direction, writing and, at times, acting – having said that the other fifteen percent is occupied by some very convincing scenes of sexual tension thanks to the ‘invasion’ this time being carried out by two nubile, fit young women.
The pair, played by Lorenza Izzo (Roth’s wife, incidentally) and Ana de Armas, turn up unannounced at architect Reeves’ swanky house with their overtly soaked wet nips and a sorrowful tale of being late for a party and … actually I don’t remember the rest of their excuse, I was distracted – as is Reeves who lets them in to dry off whilst wondering what they might really be after. I have this problem all the time – the best thing to do is to tie them up and gag them as quickly as possible just to be safe, you cover all your bases that way. Needless to say, market research tends to bypass my cave these days but unfortunately Reeves isn’t quite so savvy when it comes to psychos, or teenage girls, and, well, he doesn’t get much work done over the weekend put it that way.
The film is a remake of 1977’s ‘Death Game’ and its troubles begin just shy of half way through when it all but runs out of steam and it becomes apparent there was no real thought given to the theme other than to replicate the sort of scenario better displayed in ‘Funny Games’ (97 & 07) and its imitators but with a visual overemphasis and indulgence on the aspect of sex appeal, where it is at least successful, and yet there was a lot of scope for development. A surprising lack of even traditional screw turning both relieves and disappoints and they could easily have put in a lot more black humour, just as it ought to be much more tense than it is – worst of all, though, are multiple moments where solutions to problems are presented and not acted upon, which any horror or thriller can only get away with for so long. Ana de Armas is the film’s best revelation with a largely believable delinquent romp and a body possibly worth enduring a certain degree of discomfort for, but even for male audiences her and her partner in crime’s charms won’t be enough to overlook the frayed narrative that occupies the latter half of the film.