Adam Wingard | 100 mins | Blu-ray | 2.40:1 | USA & UK / English | 15 / R
The writing-directing team behind You’re Next turn their attention to a different genre with this ’80s-throwback thriller that’s made of awesome.
One morning in New Mexico, David (Dan Stevens) turns up on the doorstep of the Peterson family. A former soldier, he tells them he was with their son Caleb when he was killed in action, and he asked David to visit his family. Mum Laura (Sheila Kelley) welcomes him with open arms and insists he stays for a few days; suspicious dad Spencer (Leland Orser) is soon won round; socially-awkward teenage son Luke (Brendan Meyer) is quick to see the benefits of an older ‘brother’ who can handle himself; twenty-year-old daughter Anna (Maika Monroe) is initially skeptical, then convinced of his merits… but then… Well, I could say more, but who wants it spoiled?
That said, if you’ve seen any of the trailers or other promotion, you’ll have some inkling of where The Guest is going. Maybe not entirely, because they didn’t blow everything in the trailer, but still: this is (in part) an action movie, and Stevens’ ex-soldier does get to show off the skills he learned in active service. Suffice to say, there’s another reason he’s visiting his army buddy’s family in the back of beyond, and it has a lot to do with shady Lance Reddick and his awesome voice. Ok, it has nothing to do with Lance Reddick’s voice, but that is awesome. Lance Reddick’s voice should be in more stuff.
The days of chubby Matthew Crawley long since banished, a buff Dan Stevens (there’s a reason his topless scene was also all over the marketing) is entirely convincing as the seemingly-nice-but-possibly-creepy army man who inveigles his way into the Petersons’ lives with pure charm before gradually revealing, both to them and (especially) us, that there’s a lot more to him than a nice guy who happened to kill people in the Middle East. For my money, he’s the best anti-hero in a long time. Occasional flashes of dry humour — a line here, a look there — make him likeable to the audience, more than the charm that persuades the other characters does, so that by the final act we’re still pretty much on his side, whatever else happens.
Maika Monroe makes an equally appealing co-lead, and something of an audience cipher as she digs into David’s backstory. Wingard and screenwriter Simon Barrett wisely reveal just enough of this to keep us informed but don’t info-dump the whole shebang (apparently they shot and test-screened scenes that explained it all in detail, and the test audience agreed that it was too much unnecessary information. Well done, test audience). Some have taken issue with the “kids discover everything” angle the film unrolls in its second half, but it’s part of the ’80s-ness. I can’t even think of what films to cite, but it feels like something you see in quite a few ’80s genre flicks.
That rather goes for the film as a whole, in fact. It’s definitely set now, and there are more modern precedents for some of it (a review quote on the Blu-ray cover mentions The Bourne Identity — there are some plot similarities, but don’t make the mistake of thinking it’s the same kind of film), but a feeling of ’80s-ness persists as well — but without easy reference to other specific movies. Maybe that’s my knowledge coming up short, but I know I’m not the only reviewer to feel it. Wingard evokes that era and the feel of those movies, without slipping into parody and without merely ripping-off familiar flicks. I think this especially comes to the fore in the final act — it’s arguably even most distilled in the very final scene — but, again, it’s a feeling, a sensation, a familiarity, not a blatant, I dunno, “look, now we’re in the ’80s!”-ness.
This is underscored by the amazing soundtrack. I think it’s a mix of original score and sourced songs, but the effect is seamless. Apparently it was composed on the same type of synths used for Halloween III, which may or may not give you a sense of where it’s going, but — much like Wingard’s direction and Barrett’s story choices — it’s an ’80s vibe with a modern twang. I get the impression the songs included are recent cuts, not jukebox throwbacks, which I guess is some subculture of modern music. Or possibly mainstream, I dunno. Whatever, it’s all cool. I must get my hands on a full soundtrack (a quick look at Amazon reveals a digital-only release that doesn’t look particularly thorough. Must investigate more…)
In case it’s not yet obvious, allow me to state it bluntly: I loved The Guest. I loved Dan Stevens’ character and his performance. I loved each and every one of the perfectly-placed supporting cast. I loved the wit and the action scenes. I loved the ’80s-inspired plotting. I loved the score. Indeed, I loved pretty much everything about it. Not everyone loves it — some people outright hate it, even. I suppose it’s a little bit idiosyncratic, in a similar way to something like Hanna… which I also adored, of course. They’d make a fun double bill.
No guarantees, then, but naturally I wholeheartedly recommend you invite The Guest in. To your life, I mean. As in, watch it.
The Guest is available on Netflix UK as of yesterday.
It placed 3rd on my list of The Ten Best Films I Saw For the First Time in 2015, which can be read in full here.