Review: A remade ‘Speak No Evil’ is less evil, swapping out Euro-bleakness for a family’s bonding

As a cinephile who has seen more horror films than I can count, I must admit that I was initially skeptical about the remake of “Speak No Evil.” However, after watching this reimagined version, I found myself pleasantly surprised by James Watkins’ take on the original Danish film.

A soul-chilling modern horror classic has been given a giggly date-night polish in the Blumhouse remake of the 2022 Danish film “Speak No Evil.” Beyond the usual Hollywood impulse to try to increase art-house-sized audiences to big box-office levels, there was really no reason to remake Danish filmmaker Christian Tafdrup’s squirmy hell-is-other-people scenario. But in doing so, writer-director James Watkins has swapped out malevolence for a tamer sense of misadventure. The takeaway? Lingering dread isn’t multiplex-friendly.

It’s perfectly fine to have remakes, especially when they offer a fresh perspective from a different creator on an already popular dish. Initially, the foundation of this “Speak No Evil” adaptation seems to capture the modest appeal and peculiarity of the original’s setup, as tourists connect. In a typical Tuscan landscape, an American couple, Louise (Mackenzie Scott) and Ben (Scoot McNairy), find themselves intriguing a British family who are their villa’s owners. This family consists of a charismatic, straightforward doctor named Paddy (James McAvoy), his cheerful spouse, Ciara (Aisling Franciosi), and their quiet, reserved son, Ant (Dan Hough).

In a natural and easy-to-understand manner: Ant develops a connection with Agnes, the shy 11-year-old child of Louise and Ben. After an engaging and enlightening conversation among the adults, it doesn’t take long for them to agree on meeting again in the U.K., this time at the rural, isolated farmhouse belonging to Paddy and Ciara up north.

Over a peaceful country getaway, the hosts’ warm welcome subtly revealed undertones of unease, largely stemming from Paddy’s volatile demeanor and occasional outbursts directed at Ant. Moreover, his penchant for teasing Louise and Ben seemed more like an unsettling social experiment than friendly banter, with his provocations including poking fun at Louise’s vegetarianism, neglecting to cover our dinner bill, and crossing boundaries with overt displays of sexuality. In these moments, James McAvoy shone like a malicious juggler, constantly balancing seemingly harmless actions and dangerous ones, always ready to catch you off guard. It was impossible not to watch him, knowing he might toss something your way if you weren’t on guard.

However, as Ben and Louise’s relationship, which wasn’t the strongest to begin with, argues over their financial limits, Ant appears to be secretly conveying something critical about their predicament to Agnes. At this point, the path the new movie has been following, remarkably similar to its Danish counterpart up until now, diverges sharply, leading the characters into an entirely different climax with a significantly altered mood and perspective.

In a different take, “Speak No Evil” emphasizes a more comedic and therapeutic approach compared to the original film’s grim portrayal. Instead of presenting the story as a harrowing descent into brutality, it transforms a tragic situation into a dark comedy of social etiquette. Essentially, horror is no longer its essence. However, marketing misery-filled stories isn’t easy, so a trap becomes a labyrinth, the powerless become empowered, and predators learn empathy – a taste of their own medicine. Who would want to depart from the theater recalling the initial discomfort of witnessing seemingly virtuous individuals suppressing every protective instinct? A poignant critique on our society’s insatiable yearning for acceptance.

Absolutely, there are elements in this piece that are thrillingly captivating, as Watkins skillfully creates an engaging narrative. Notably, he cleverly incorporates an ’80s tune, which adds humor yet remains unexplained for maximum impact. Moreover, the cast is impressive, with McAvoy leading the way, and the tense marital strife portrayed by McNairy and Scott is particularly noteworthy. However, if you fail to appreciate “Speak No Evil,” you’re missing out on the authentic horror it masterfully conveys, refusing to provide any sense of comfort or safety.

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2024-09-12 21:01