Dir: James Watkins
Cast: Mackenzie Davis, Scoot McNairy, Alix West Lefler, Dan Hough, James McAvoy, Aisling Franciosi
It may lack the gut-punch of the Danish original but a suitably unhinged James McAvoy relishes his villainous role in this wickedly entertaining and surprisingly comedic horror-thriller
It has almost become a Hollywood tradition over the years to take an incredibly impactful genre piece from overseas and completely butcher it by Americanising its central themes and characters, in desperate bid to keep audiences chipper as they leave their local cineplex. This feel good American mentality has seen countless classics of world cinema stripped for parts, leaving most of their complexities and often darker thematical elements left on the cutting room floor, to make way for a lighter, good-overcomes-evil plot devices. Occasionally there have been some successful remakes from our neighbours across the pond, most notably Martin Scorsese‘s Oscar-winning “The Departed”, which is one of the few examples that actually improves upon its Non-English language source material, having been adapted from the engrossing Hong Kong film series “Infernal Affairs”.
Largely, however, our American cousins have failed in their pathetic attempts in bringing beloved IP’s from across the world into the mainstream, by trying to appease general audiences. The most pitiful example that springs to mind is Spike Lee‘s shambolic attempt at remaking Park Chan-wook‘s iconic twisted thriller “Oldboy”, which despite boasting an impressive cast and crew, failed to recapture the impact of the original.
Accounting for Hollywood’s track record, I felt understandably sceptical when it was announced that Blumhouse were adapting Danish psychological horror “Speak No Evil”. Following a baron couple years as a result of the Covid-19 pandemic, the industry was at an all time low in terms of cinematic output, which ultimately saw the astronomic rise of streaming platforms such as Netflix, Prime Video and newcomers Apple TV and Paramount+. In 2022, Shudder released Christian Tafdrup‘s harrowing reverse home invasion thriller, which left millions who had subscribed to the horror platform aghast, following one of the darkest and most disturbing endings in modern cinema. Not since I first watched George Sluizer‘s psychological missing-persons thriller “Spoorloos” (1988), had I been left in such a catatonic state following a movie’s finale. A horrifically impactful and unforgettable creative choice, that left critics and audiences applauding the sheer audacity of Tafdrup to have taken such a bold swing.
Now, barely two years later, we find ourselves in that perilous situation once again as an English-language remake sweeps across the screens worldwide. One of my few reassurances going into my packed and lively late night screening of “Speak No Evil”, is its central cast of consistently dependable actors, which includes Mackenzie Davis, Scoot McNairy, Aisling Franciosi and most notably, the always excellent James McAvoy. We are first introduced to strained American couple Louise and Ben Dalton (Davis and McNairy), as they holiday in a rural Italian village with their preteen daughter Agnes (Alix West Lefler). Continuously at odds over Ben’s unemployment, Louise’s past infidelities and Agnes’ unhealthy attachment to her stuffed rabbit toy, Hoppy, the family are bowled over by, and subsequently befriend, free-spirited English couple Paddy and Ciara (McAvoy and Franciosi).
Having returned from their travels, the Dalton’s continue to find themselves unhappy in their isolated London apartment, having abandoned their American lifestyle for Ben to pursue his career in the UK, albeit unsuccessfully. Having recieved a postcard from Paddy and Ciara, the Daltons reluctantly decide to pay the relative strangers a visit at their West Country farm, hoping the change of scenery will rekindle their marriage and rectify Agnes’ anxiety issues. Despite receiving a warm welcome from their hosts, as the Daltons spend more time at the farmhouse, they begin to grow unnerved by the English couples peculiar mannerisms and passive aggressive behaviour, as they repeatedly cross familial boundaries. They are also troubled by Paddy’s aggressive treatment of his son Ant (Dan Hough), whom they are told was born with an abnormally small tongue, thus cannot communicate. As tensions amplify over the course of the weekend, the Daltons grow more and more uncomfortable and continuously pursue means of vacating the property without losing face or letting on to any sinister suspicions they may have surrounding their seemingly welcoming hosts.
I think the downfall of most American remakes of international movies is that they struggle to find the right balance of recapturing the essence of the original source material, as well as being able to provide a fresh take bustling with its own unique ideas. With Tafdrup’s original being so heinously bleak, I was never anticipating James Watkins‘ English-language remake to follow suit, and I would be correct. However, despite straying from the path that led to the Danish original becoming an overnight sleeper hit of the genre, “Speak No Evil” manages to keep that essence of the true horror at its centre, which is our natural instinct to keep face regardless of any awkward social situation we may find ourselves in. After a series of initially amicable exchanges, the Daltons find themselves put in increasingly awkward social interactions, but being the polite American couple that they are, they refuse from making a scene as a guest in another family’s home. As Paddy and Ciara’s behaviour towards their son intensifies, tensions rise between the couples with the ever forgiving Paddy and Ciara instantly wallowing in self-pity as they attempt to once again win over their humble guests, in a desperate bid to make them stay that little bit longer. These increasingly intense and uncomfortable moments provide the film with a surprising amount of levity despite the unsettling and cringeworthy nature of the movie’s premise. This is a tried and tested method of getting audiences to relate to the more discomforting moments when socialising with others, most famously depicted on screen by Swedish filmmaker Ruben Ostlund, most notably showcased in his 2014 black comedy “Force Majeure”.
Those familiar with the original will not be surprised when Paddy and Ciara’s ulterior motives behind the weekend get together are revealed, not to mention the true relationship they have with their son Ant, in fact, for the majority of its runtime, “Speak No Evil” narratively mirrors its Danish counterpart. It is not until the remake’s more “Straw Dogs” inspired climax that the two films start to part ways in terms of plot, and you start to see that a different outcome for the Daltons may be on the table. Some fans of the original “Speak No Evil” may be infuriated by this new Hollywood ending, that is undoubtedly less impactful than Tafdrup’s hard-hitting original, with some comparing it to the US remake of the previously mentioned “Spoorloos”. Adapted by George Sluizer himself, the 1993 remake “The Vanishing” saw the Dutch filmmaker completely bail on the twisted ending of his own original film, as Jeff Bridges‘ protagonist ultimately prevails over his wife’s captive, rather than finding himself buried alive alongside her. “Speak No Evil” differs however, as it wisely varies in tone from the original, which is emphasized further thanks to McAvoy’s hilariously twisted turn as the unhinged Paddy.
The lighter tone and comedic elements are present from the start, making this latest version of “Speak No Evil” an entertaining old-school thriller, more akin to “Misery” (1990) or “The Hand that Rocks the Cradle” (1992), and my lively screening was loving every minute of it. This is how remakes can be done right, by reinventing the original source material to draw in a wider audience and providing a completely different cinematic experience, but still managing to keep the essence that made the original so great without the need of re-treading familiar ground, and hopefully the film’s financial success will encourage those less familiar with it to seek out Tafdrup’s original.
Summary
It may lack the gut-punch of the its Danish source material, but James Watkin’s West Country set horror-thriller may prove to be one of the most entertaining genre releases of the year. One to be enjoyed with as many people as possible to rejoice in a formidably twisted but equally hilarious performance by a terrific James McAvoy.
You will never listen to The Bangles‘ “Eternal Flame” ever again.
Speak No Evil is now showing in UK Cinemas
Dan Loves Film 
I was hesitant to watch after learning it was a remake, but perhaps I should give it a go and see for myself. After all, if it turns out to be rubbish, I can always switch it off 😆
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Nice post 🌺🌺
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