It’s good to see Roth deliver something worthwhile: despite its shortcomings, this film manages to entertain and functions well. A while back, a movie came out about two young women who infiltrated the home of an older wealthy man, seduced him, and then tormented him; “Death Game” is one of those films that's largely forgotten now. I haven’t seen the original yet, but after watching this remake, I’m interested in checking it out. Eli Roth has created a straightforward film. What I mentioned earlier applies perfectly here: Evan Webber is an ordinary husband and father who makes the error of offering shelter to two very attractive women who, after freshening up, decide to repay him with a night of illicit and completely sinful intimacy. However, what appears to be an erotic fantasy quickly turns into a nightmare when they begin to terrorize him. This isn’t a groundbreaking or unexpected film; it won't join the ranks of great films in any genre. But it delivers on its promises: a feeling of unease and pleasant tension, entertainment, and a solid story. Of course, there are issues. For instance, how did these women know so much about Evan and his family without having spent considerable time observing them? The film occasionally reveals that he wasn’t chosen randomly and that there was purpose behind their actions toward him. This is awkward because the movie attempts to explain it, but doesn't do a great job. Personally, I think it would have been better if the film had simply played with all the information they could gather from Evan during that brief visit, rather than trying to explain their motives. Regardless, this appears to be Eli Roth’s best work so far; “Cabin Fever” was decent but overly theatrical, and "Hostel" proved distasteful in its attempt to mimic the worst aspects of "Saw." It seems Roth has finally realized that what truly frightens us is what remains unseen or unpredictable. Excessive fake blood and graphic violence only hurt the concession stand’s business. Keanu Reeves is the film's biggest star and likely highest-paid actor. He did a commendable job, portraying a character who could easily have been shallow or underdeveloped in someone else's hands. Over time, Reeves presents us with an ordinary, relatable, and believable man—someone we can connect with. Someone who makes mistakes but still evokes sympathy because he’s punished far more severely than seems fair. Reeves prevents the character from feeling like a mere pawn. However, the film is largely carried by the female performances: Lorenza Izzo – the director's wife – and Cuban newcomer Ana de Armas are both captivating and deserve attention. Technically, it’s a simple production; everything takes place in a single location, and the sets and costumes are basic but effective. The cinematography avoids surprises or innovation, opting for conventional approaches and practicality. The music isn't particularly memorable either.

Source on TMDB