THE GUEST (2014)

A little over a decade ago, in 2014, director Adam Wingard and writer Simon Barrett graced us with the cult masterpiece THE GUEST. Since then, Wingard and its two main stars, Dan Stevens and Maika Monroe, have seen their careers bloom. Take last year for example—which saw Wingard and Stevens teaming up again with GODZILLA X KONG: THE NEW EMPIRE, Stevens’ return to horror villainy with ABIGAIL and CUCKOO, and LONGLEGS certifiably establishing Monroe as one of the best actresses currently working in horror.

Despite rightfully getting the recognition they deserve, it still feels as though THE GUEST goes a little under appreciated. While well respected by horror fans for its modern twist on an old-school formula and impeccable ‘80s throwback vibes, within it resides a surprisingly clever exploration of the very same toxic mentalities that have become so prevalent in modern male culture.

***Spoilers incoming.***

Soon after the eldest son of the Peterson family, Caleb, is killed in action, a recently discharged soldier arrives at their doorstep calling himself David Collins (Dan Stevens). Apparently, they served together, and Caleb’s wish was for David to check in on them if he didn’t make it back. We’re then introduced to the family one-by-one. There’s Laura (Sheila Kelley) and Spencer (Leland Orser), the emotionally distraught parents, Anna (Maika Monroe), the rebellious daughter, and Luke (Brendan Meyer), the bullied son.

It’s not long before we realize there’s something off about David. He doesn’t sleep, has enhanced strength and speed, an absurdly high alcohol and pain tolerance, and more screws loose than you can count. If you pay attention to context clues, you’ll figure out pretty early that he’s essentially a super-soldier. His character functions as the physical manifestation of the perfect traditional “man,” tough as nails without taking crap from anyone.

The family’s new houseguest leaves a trail destruction in his wake as he tries to do what he thinks is best for them. When he immediately clocks that Luke is being bullied, he offers to pick him up from school the next day. After asking him to point out those responsible, David then drags the poor boy with him as he follows them to a bar. It isn’t long before the screaming starts.

An interesting thing to note here is how he antagonizes them. They’d be the kind of kids that’d listen to someone like Andrew Tate as if he’s the gospel, and, much like him, act tough to project an image of power. Knowing how fragile those kinds of egos are, David tricks them into lashing out by ordering each of them a cosmopolitan and their girlfriends blow job shots. There are little bits like this throughout the film, moments where masculinity is brought into question sparking an aggressive reaction.

The titular GUEST soon takes things to a further extreme when he frames Anna’s boyfriend for a double homicide, feeling it’s in her best interest for the guy to be out of the picture. Not stopping the slaughter train there, David also disguises the killing of a man and his girlfriend as a murder/suicide after the guy gets a promotion over Spencer in order to secure him the job. Like they say, the road to hell is paved with good intentions… and a corpse or two.

David treats the Petersons as if they’re his own flesh and blood, specifically Luke. Believing he needs someone to look up to, now that his brother is gone, he wants to set a positive example. He even gives some brotherly advice when he tells him to never let anyone pick on him and gifts him his butterfly knife, suggesting bringing it to school, and if that doesn’t work, to then burn down his bully’s homes with their families inside. You can’t say the man isn’t consistent.

It's only in the latter half of the film where Luke finally fights back by breaking a yardstick across a kid’s face. While satisfying, there’s also a problem. The issue isn’t that he snapped, that’s understandable. What’s worrying is that he liked it, that it made him feel powerful. He thought “what would David do” and emulated him. The last thing teenage boys need, especially bullied outcasts like Luke, are role models who use violence as their first and only option. He even figures out that David killed all those people, but doesn’t care, viewing his actions as justified since they’re friends.

Eventually, everyone’s new best pal has his cover blown, resulting in a lot of dead mercenaries, a blown-up diner, and the deaths of Laura and Spencer at his hands. His programing dictates he kill any witnesses, and so he sets off after the siblings. This sends Anna into mama bear mode. All she has left is her little brother, and she’ll be damned if she loses him too.

She almost takes out David, but he gets the upper hand and is about to kill her. In an ironic twist of fate, Luke saves his sister by stabbing him with the same knife he was given to defend himself. Before collapsing, he gives Luke a thumbs up and smiles while telling him he did the right thing. A hype man until the end.

All David wanted was for Luke to stand up for himself, but considering how he’s a complete psychopath, his methods of education were— to be blunt—batshit insane. On top of that, due to his own helplessness, Luke idealized David. It was because of this a problematic worldview began to grow in his underdeveloped mind, one where strength is synonymous with power.

In the end however, whether he realizes it or not, Luke embodied what it really means to be strong. Strength doesn’t come from hurting people to prove something or using power to assert dominance. No, true strength comes from a place of love. His desire to protect his sister is what ensures their survival.

While David also survives, like any good horror villain would, Luke still defeats him. By striking his former bestie down, it’s as if Luke has, in turn, struck down the toxicity brewing in the back of his brain. With any hope, unlike David, it’ll stay gone.

In a day and age where alpha male filth is all the rage, it’s important for stories to send the opposite message. THE GUEST isn’t just a bloody good time but works as a rejection of all the horrific rhetoric that has been sold to young men, making it unfortunately more relevant now than ever.