4.0 out of 5 star rating
Whenever I hear about Hollywood swiftly remaking a beloved European cult classic, it’s hard not to feel a sense of unease creeping in. This is because there’s often concern that the unique quirks which made the original so endearing might get smoothed over and transformed into something more standardized and commercially appealing.
Despite making some adjustments to cater to audiences sometimes referred to pejoratively as the “popcorn crowd”, British filmmaker James Watkins’ adaptation of the Danish psychological horror still retains its original raw, satirical, and unnerving qualities.
Two-and-a-half years ago, the initial release of the movie struggled financially at global box offices, generating only $630,000 – a mere fraction of its $3 million production cost. However, its standing among film enthusiasts has steadily grown, thanks to late discoveries on streaming platforms. This rise in popularity is significantly influenced by its daring and startling climax.
With an appreciation for past events, Watkins skillfully holds back, avoiding any hasty escalation of tension in a story that initially seems like a typical upper-middle-class social comedy. However, as the narrative unfolds, it subtly transforms into something darker and more ominous.
On vacation with my family, my partner and I – Ben (Scoot McNairy) and Louise (Mackenzie Davis) – encountered an English family that seemed to share our likeness. The family of three was led by a man who exuded authority, Paddy (James McAvoy).
Everything is beautiful and full of memorable moments in Kodak-worthy scenes, making it hard for Ben to resist when Paddy extends an invitation for him to spend an extended period at their countryside cottage with Paddy, his wife Ciara (Aisling Franciosi), and their mute son.
Upon arrival, small issues start to emerge, initially appearing harmless (like Ciara scolding the guest’s daughter for eating with her mouth open). However, disagreements over social etiquette uncover deeper triggers, revealing more explosive personality traits in Paddy’s interactions with his own child.
Ben generally avoids confrontations, which differs from his wife who’s eager to depart. However, despite growing signs that Paddy might not be entirely sane, he possesses charm that convinces guests to hang around for a bit longer.
As a movie enthusiast, I can’t reveal much about the plot here, but let me tell you, this film is brilliantly crafted. The way Watkins gradually peels back layers of unease and discomfort, leaving you with a lingering feeling that something worse might be lurking nearby – it’s a technique he masterfully employed in his directorial work on the exceptional Black Mirror episode, Shut Up and Dance.
McAvoy delivers an exceptional performance across the board. Despite being in his mid-40s, he still carries a hint of the youthful charm from his earlier roles, which adds depth to his character and catches other characters off guard when his inner conflicts surface.
The shifts from charm personified to nasty piece of work recall the multiple personalities he played in Split, but whereas M Night Shyamalan’s 2016 thriller was sometime cartoonish in its execution, Speak No Evil’s McAvoy is coldly, unrelentingly malevolent.
To put it simply, the newer Danish film has a delightful dose of humor that was lacking in its older counterpart. This is particularly evident during the scene where Paddy goes over-the-top to The Bangles’ song Eternal Flame, which is both amusing and unsettling at the same time.
The forcefulness of the performance (aligned to the fact it’s his face alone on the ads and posters) risks suggesting this is primarily The James McAvoy Show, but praise is also due to the actors playing the wives.
Davis emerges as the unofficial moral compass, feeling repulsed by her surroundings and yearning for freedom from their grip. On the other hand, Franciosi masterfully portrays Ciara as a complex character, leaving viewers unsure whether she too is ensnared in Paddy’s web or perhaps involved in his actions.
In due course, we’ll uncover everything, embarking on a filmic adventure reminiscent of Jordan Peele’s Get Out. Similar to its nearby contemporary, it delves into horror tropes but also expands the boundaries of the genre with sophistication and intellectual stimulation.
Speak No Evil is showing in cinemas from Thursday 12th September 2024.
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2024-09-10 18:33