Speak No Evil review: No less stark, satirical or unsettling than the original

★★★★☆

As a film enthusiast who’s been around the block more times than I care to remember, I must say that “Speak No Evil” is a chilling, thought-provoking masterpiece that deserves a spot on every cinephile’s watchlist. The movie harks back to the days of European cult classics, but with a modern twist that keeps it fresh and engaging.

Speak No Evil is in cinemas now. Add it to your watchlist.

Whenever Hollywood decides to swiftly replicate a beloved European cult film, it often triggers a sense of apprehension since there’s concern that unique aspects which made the original captivating might be smoothed over and transformed into something more standardized and marketable.

Although James Watkins’ adaptation of the original Danish psychological horror may cater to some elements that are sometimes criticized as being for a “popcorn crowd,” the new Speak No Evil is no less grim, sarcastic, or disturbing than its original content.

Approximately two-and-a-half years ago, the initial release failed to impress at global box offices, bringing in only $630,000 (a mere fraction of its $3 million production cost). However, despite this early underperformance, its standing among film enthusiasts has been steadily increasing, largely due to its daring and provocative final act, which has caught the attention of latecomers who discovered it through streaming services.

Speak No Evil review: No less stark, satirical or unsettling than the original

With due regard for past works, Watkins skillfully maintains a restrained approach, avoiding any premature escalation of tension in a story that initially seems like a typical upper-class social comedy. However, the tone subtly transforms over time, unfolding into a much darker and ominous narrative.

The strictly traditional American duo, Ben (portrayed by Scoot McNairy) and Louise (Mackenzie Davis), along with their little girl, take a vacation. During this trip, they cross paths with an English family of three who closely resemble them, with Paddy (James McAvoy) standing out as the dominant figure among them.

In a scene brimming with charm and photogenic opportunities, it’s no wonder that Ben can’t resist accepting Paddy’s invite to spend an extended period at their picturesque West Country cottage, accompanied by Paddy, his wife Ciara (Aisling Franciosi), and their silent son.

Upon arrival, small issues start surfacing, initially appearing trivial (such as Ciara scolding the guest’s daughter for eating with her mouth open). However, disagreements over social etiquette uncover deeper triggers in Paddy’s behavior towards his own child, revealing a more volatile personality.

Ben dislikes conflicts more than his wife, who prefers to depart immediately. However, despite growing signs that Paddy might not be completely sane, his charm is strong enough to convince guests to postpone their departure for a while.

In this discussion, we won’t delve deeper into the storyline since a key aspect of the movie lies in how Watkins skillfully reveals layers of discomfort and an underlying feeling that something sinister is nearby – a technique he mastered previously as the director of the acclaimed Black Mirror episode Shut Up and Dance.

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McAvoy delivers an outstanding performance across the board. Despite being in his mid-forties, he still carries a hint of youthfulness from his earlier acting days, which makes it even more effective when he unveils his character’s hidden, darker struggles.

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.

What’s notable is that this newer film includes a delightful dash of humor which seemed to be absent from its older Danish counterpart. For instance, when Paddy goes over-the-top emotional to the song “Eternal Flame” by The Bangles – it’s both funny and terrifying 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, visibly disturbed by those around her and yearning for freedom from their grasp. On the other hand, Franciosi masterfully portrays Ciara as a complex character, leaving viewers guessing whether she’s unwillingly ensnared in Paddy’s web or somehow involved in his actions.

In due course, the entire story will unfold, taking us on a cinematic adventure that shares some resemblance with Jordan Peele’s film “Get Out.” Similar to its neighboring contemporary, it acknowledges horror tropes but also skillfully expands the boundaries of the genre in a captivating and intellectually stimulating manner.

2024-09-11 18:34

★★★★☆

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