You keep a-knockin’ but you can’t get in.
I must admit that I never saw the first Knock Knock. Gee, I hope I’ll be able to follow all the carefully-plotted continuity and complex mythology.
Four friends set out one night on a self-guided tour of some of the most famous murder sites in Los Angeles, including Sharon Tate, George Reeves, and the Black Dahlia. They’re recording the whole thing along the way with their home video camera. At the last house on their list, simply known as “1666,” they end up locked inside. The night passes as they try to find a way out. Turns out they’re not alone in there.
The only thing this movie has going for it is the “found footage” novelty. Sadly, that’s no longer novel. The Blair Witch Project is clearly a template here, complete with having the actors play themselves, with phony obituaries for them in the end credits no less, all in an attempt to recapture that brief period of time around Blair Witch‘s release when people were wondering if it was real. I hate to make everyone feel old here, but Blair Witch was more than ten years ago. If you must do the found footage thing, you’ve got to come up with something new for it, and not just repeat what others have done.
The first half of the movie, if not more, is our four heroes driving around L.A. looking for these infamous sites. It’s not until late in the movie when they get to the creepy house that scares start happening, and those scares are few and far between. Most of the time inside the house is spent trying to pull boards off of a window, failing, then trying to pull boards off of another window, failing, and so on. Very little happens in the movie, and it moves so slowly, that viewers will be left unfulfilled.
Is anything good here? There’s an interesting gender role reversal going on, where the two male characters are the ones hanging back, saying stuff like, “Let’s just go back to the car, where it’s safe,” while the two girls are the ones forging ahead, saying stuff, “What’s the matter? Are you scared?” This back-and-forth ends after they’re trapped in the house, which is too bad, because I would have liked to see more of it.
The picture and audio are about as good as can be expected from the “shot on ordinary home video equipment” style. Some interviews and a trailer gallery are it for extras.
Knock Knock 2 was clearly made by a group of friends over a couple of nights—maybe even one night—with the tiniest of budgets. I appreciate that, I really do. But by doing nothing more than following the same path as another, more famous, more successful movie, it’s doomed to be another forgotten direct-to-DVD snoozer.