Past Misdeeds: The Guest (2014)

This is a re-run with only the slightest of edits, so please don’t ask me what the heck I was thinking when I wrote any given entry into this section.

The Peterson family – mother Laura (Sheila Kelley), father Spencer (Leland Orser), nearly of age daughter (who’d be of age for nearly three years in my country, and legally drinking beer for nearly five) Anna (Maika Monroe) and teenage son Luke (Brendan Meyer) – are still grieving for the death of their eldest son in combat in one of America’s recent wars. One day, a stranger calling himself David (Dan Stevens) shows up at their door, introducing himself as a war buddy of the son come to pay his respects and give them a final message of love from him.

David might feel just a little bit off, but he’s also charming, attractive, attentive and seems honestly interested in each family member and their respective problems, calming the mother, buddying up to the father, half-charming the more sceptical Anna, and helping Luke out with his bully problems. Quickly, a short stay for a night or two turns into an unspoken and indefinite agreement about his staying on as a live-in family friend. However, further developments might just reveal that David’s more than he pretends to be, and perhaps even a danger to everyone he comes into contact with, in particular those people towards whom he has good intentions.

After my general dislike for You’re Next and my honest puzzlement about the critical cheering – at least in horror circles – Adam Wingard’s film got where less smug movies suffered a polite shrug, I did not expect anything much to my tastes going into his next film The Guest. What I got, however, is a truly excellent film that not just avoids nearly everything I found problematic or pretty damn annoying about its predecessor but turns it around and into an asset.

So Wingard still demonstrates an encyclopaedic knowledge of genre film history, but where demonstrating it felt like a pointless, and rather smug, gesture to me in You’re Next (So you’ve seen a lot of movies? So have I. So what?), The Guest seems to be all about actually learning from the movies that came before and then applying that knowledge to improve the film at hand and turn it into a more effective piece and telling its story better. Thus making an understanding of early John Carpenter, the same neon 80s aesthetic that dominated Nicholas Winding Refn’s Drive, and all those thrillers about mentally ill people worming themselves into bourgeois families, a natural part of the film’s language.

While Wingard keeps being interested in a subversion of genre expectations, his approach here goes far beyond “ironic” quotes or making a handful of obvious changes to the formula that play better with an contemporary audience, leaving The Guest not as a film about older movies (or even a critique of them) but a thing standing on its own that organically uses those techniques and effects that will best serve its purpose to tell a story of its own. A story I have consciously been quite vague about here because I don’t want to rob anyone of the experience of just watching this particular film for the first time without much more than the expectations you’ll have about a genre film with its particular set-up. Now, fortunately, this does not mean The Guest is a film that’s all about one big plot twist, but only that all its little twists and turns are perfectly worth experiencing on one’s own for the first time. All too often, a film having plot twists means it will make grand, dramatic gestures about developments that have little logical or thematic connection to what came before in a story, whereas here, these things all feel like natural developments and are perfectly in the flow of what came before.

It’s this flow, an organic feel, that impresses me particularly about The Guest, a feeling that each single element in plot, design, direction and acting truly feeds into the film as a whole, leaving one with the feeling of having watched something of perfect inner logic, with no single element that could disabuse one of that notion hogging the spotlight for a second too long. So this is a film with a wonderful cast – Monroe, Stevens and Meyer are particular high points – tight direction, often very inventive camera work and editing, as well as a script that is much cleverer than it pretends to be, where again all these single elements just feed into the movie as a whole. It is quite difficult to single out any one of these elements as particularly remarkable, not because of their quality or lack of such but because the film is so much of one piece, looking at the single parts it is made off seems to be completely beside the point, unless you have an academic interest in talking about film.


Of course, in theory, that’s how all films are supposed to work. However films where things come together quite this way and that still make it look easy and natural, without artifice exactly thanks to their high degree of artistry (which is by nature artificiality) aren’t exactly a dime a dozen. Again, the early John Carpenter comes to my mind the most, and that’s really how The Guest feels to me: a movie so great it deserves comparison to the best.