THE GUEST REVIEW

THE GUEST

This is one house guest you won’t want staying around. Crawley is back and kicking ass. Dan Stevens has definitely escaped from the dusty confines of Downton Abbey and boy . . . what a film to break the mould.

Stevens is incredibly charismatic and proves that he can handle the leading role with ease. He was one to watch after his turn as Matthew Crawley in Downton Abbey, but this performance will certainly put him on the map. However, it appears Hollywood have already clocked him with a supporting role in the new release of the Neeson crime showpiece, A Walk Among The Tombstones.

Now brought to you by the people who did You’re Next. When I read that, I dreaded what laid in store. I hated You’re Next. It completely flipped what I thought would be a solid slasher flick and turned it into a ridiculous farce. As soon as the opening credits of The Guest began with the highly elaborate overture that usually belonged to the 80s B-movie flicks, I was anxious. However, once Stevens flashed the pearly whites and unleashed that perfect American drawl, the anxiety dropped and a slow burning, suspenseful tension soon had me hooked as we try and decipher the intentions of the all too helpful lodger.

What’s it about? A soldier (Stevens) introduces himself to the Peterson family, claiming to be a friend of their son who died in action. After the young man is welcomed into their home, a series of accidental deaths seem to be connected to his presence.

A hint of A Shadow of a Doubt hovers over this indie action hit. In one moment, Stevens’ David works the charm offensive off every one in the screen, in the next he’s ready to destroy them. His unpredictability certainly makes for good viewing. However, one person isn’t buying it and that is Maika Monroe’s bizarrely dressed Anna Peterson. I don’t really pay attention to what people wear in movies but Monroe’s waitress stripper look was just strange and unattractive. The electro-infused soundtrack certainly made for interesting listening. Hypnotic at times but also balls-out random, which pretty sums up the movie and the finale in a nutshell.

The small cast play their parts well. Leland Orser’s (ER) frustrated feeble father, Joel David Moore’s pathetic pothead (Bones) and, scene stealer, Brendan Meyer’s Luke. Meyers delivered some of the better encounters with David. A tense encounter in a bar with some school bullies allows for cracking one liners and funny exchanges. Once Monroe seems to get over her sulking phases of having David in the house, she soon becomes a more interesting character. Especially with the fractious sexual tension inevitably blossoming between her and Stevens.

A little too much time is spent on the exchanges and glances that it slows the pace of the film down. However, the final 15 to 20 minutes came out of nowhere. The film goes in a completely different direction when Lance Reddick’s straight faced  (Fringe/The Wire) secret soldier creeps out of the woodwork. Now I think it will be down to the change in tide that will either make or break the film for people. For me, it made it so much better. For others, they may have preferred another route. Normally I am the latter. I’m staying cryptic because I want people to see this but it’s rapid, violent and balls-out (a lot of balls-out this time) reckless.

3.5/5 for me. Action packed, dark, funny, if a little long at the tooth in parts with an all out shoot em up and slightly abrupt finale. But not bad, not bad at all. Films aren’t testing me today.

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