The Guest

The Guest



After watching The Guest, I’m convinced of one thing. Dan Stevens is destined to be a big movie star – and this is his ‘breakout’ film. About as far from Downtown Abbey as he could reasonably go, it showcases his handsome, charismatic charms to the max and he has a lot of fun with the role. The fact that it isn’t really that good a film barely seems to matter.

Stevens plays ‘David,’ who turns up at the home of the Petersons, a family who are still in mourning for their son, Caleb, a marine who has (apparently) been killed in action. David claims to be Caleb’s best buddy who was with him when he died. After working his considerable charms on Caleb’s mother, Laura (Sheila Anderson) David is invited to become a house guest  and is soon involved in ‘looking after’ the family members, with particular attention to twenty year old Anna (Maika Monroe) and her teenage brother, Luke (Brendan Meyer). To the latter, he cheerfully suggests that he deals with the school bullies by breaking their noses and carrying a knife. It quickly becomes apparent to Anna (if not her parents) that David may not be the clean cut hero he’s pretending to be…

It’s in these early stretches where the film is at its most convincing, though director Adam Wingard (who gave us the queasily watchable You’re Next) needs to learn about pace – he often resorts to disguising the story’s slower-moving sections by dolloping swathes of electronic music over the top of the action. As the film galumphs shamelessly into its final third, it deteriorates into a risible bloodbath and as the body count rises, so all its hard-earned credibility goes straight out of the nearest window. Lance Reddick as ‘Major Carver,’ has the thankless task of steaming in like Basil Exposition, to explain exactly who ‘David’ is, before heading up a climactic face-off at a Halloween-themed party that looks like it’s stepped out of a Tobe Hooper movie.

OK, this isn’t going to win any prizes for originality… in fact, it’s not going to win any prizes, full stop. If it’s anything, it’s Stevens’ calling card to Hollywood, which suggests in no uncertain terms, that given bigger and better vehicles than this, he’s likely to shine. Watch this space.

3.1 stars

Philip Caveney