SPEAK NO EVIL (2024) Review: A Tense Remake That Proves Its Worth

Paddy (James McAvoy) in SPEAK NO EVIL | Image courtesy of Jay Maidment/Universal Pictures and Blumhouse

By Shannon McGrew

When Blumhouse announced in 2023 that they'd be remaking the 2022 Danish horror film Speak No Evil, fans of the original - including myself - met it with a fair amount of resistance. As a massive fan of Christian Tafdrup's film, I wasn't convinced Blumhouse could match the raw impact of the original. While James Watkins' version doesn't quite capture the same nihilistic tone, it stands strong on its own, proving that with the right people involved, a remake can be just as worthy as the original.

In SPEAK NO EVIL, we follow Ben (Scoot McNairy), Louise (Mackenzie Davis), and their daughter Agnes (Alix West Lefler), an American family vacationing in Italy, who strikes up a friendship with a British couple, Paddy (James McAvoy) and Ciara (Aisling Franciosi), and their son, Ant (Dan Hough). When their trip ends, Paddy invites the family to his estate in the British countryside. Hesitant because they barely know them, Louise ultimately gives in to Ben's eagerness to do something spontaneous. Once there, strange and uncomfortable situations pile up, setting Louise on edge. From passive-aggressive jabs about her being a vegetarian to Paddy and Ciara's unorthodox treatment of their disabled son, Ant, Louise starts seeing red flags. Still, Ben - who admires Paddy and brushes off the tension as a cultural difference - insists they stay. What follows is a nightmare that has them fighting for their lives.

What makes SPEAK NO EVIL so effective is how it explores themes of forced politeness, avoidance of conflict, and toxic masculinity. Many of us can relate to these issues, especially when we find ourselves in uncomfortable situations with people we barely know, wanting to avoid confrontation. The film shows that being polite doesn't always protect us - sometimes, it enables the worst behaviors. There's no supernatural horror here - no monsters, creatures, or floating entities. The real terror comes from watching an alpha predator toy with its prey. The horror is grounded in the chilling reality that this could happen to anyone.

For this film to work, the acting had to be top-notch, with actors capable of handling subtle nuance and cringeworthy moments. James McAvoy's portrayal of Paddy, the patriarch, is what anchors SPEAK NO EVIL. McAvoy expertly shifts between a charming, personable new friend to someone teetering on the edge of madness. McAvoy does a great job using his facial expressions to indicate to the audience that he's about to let the mask slip and reveal his true self. Paddy embodies many traits of toxic masculinity that are sandwiched between love bombing. But the most telling moments are the quick, under-the-breath remarks about violence towards Ciara if she doesn't do something correctly. The viewer will see the cracks in his facade in these small moments, revealing he's far from the charming man we met in Italy.

While James McAvoy shines as always, his performance wouldn't have landed as powerfully without the stellar supporting cast. Mackenzie Davis delivers a performance that reminds us never to send a man in to do a woman's job. She's the backbone of the family, showing strength and resilience when protecting her family. Opposite her is Scoot McNairy as Ben, best described as spineless. Drawn to Paddy's free-spirited masculinity, McNairy captures Ben's insecure, passive characteristics, making him an easy target for alpha men like Paddy. He wants the freedom that Paddy has, but his weakness and self-doubt prevent him from stepping up - even when his family's safety is at stake. The time spent at the estate also exposes the cracks in Ben and Louise's relationship, brought to light by Paddy and Ciara. The subversion of gender roles adds a fascinating layer to their dynamic, making the tension in their relationship even more compelling.

(L-R): Ant (Dan Hough) and Agnes Dalton (Alix West Lefler) in SPEAK NO EVIL | Image courtesy of Susie Allnutt/Universal Pictures and Blumhouse

Alix West Lefler, who plays Agnes, Ben and Louise's daughter, delivers a strong performance that showcases how debilitating anxiety can be, especially when separated from one's emotional support bunny, Hopper. However, her empathy and sensitivity clue her in that something is off with Ant, played brilliantly by Dan Hough. It's worth noting that this is Hough's first on-screen role, and his ability to hold his own against such a talented ensemble - without uttering a single word - is impressive. Additionally, Aisling Franciosi, who plays Paddy's wife, Ciara, has one of the more surprising performances, bringing to life one of the film's more complex characters. We get glimpses into her backstory throughout the film, and it would have been easy to overlook amid all the other chaos taking place, but Franciosi imbues Ciara with a blend of ferocity, sensitivity, and vulnerability that had me eager to know more about her.

Bringing on James Watkins as the director for SPEAK NO EVIL was the correct choice. With his impressive track record on films like Eden Lake and The Woman in Black, he's adept at balancing emotional nuance with intense violence. The original film's tension stemmed from its director's skillful ability to make viewers uncomfortable without pushing them entirely away. Watkins steps into the role seamlessly, mastering the art of building suspense while weaving in moments of humor to offer brief respites from the suffocating awkwardness. This is vividly illustrated in a scene where Agnes and Ant dance to 'Cotton Eye Joe' for their parents. While the scene is humorous and awkward, it's at that moment when we see Paddy's eyes turn dark and reveal the lurking monster within.

The third act of SPEAK NO EVIL is where opinions are likely to divide, much like with the original. I won't spoil the ending for either version, but I will say that I was pleasantly surprised by how much I appreciated Watkins' version on a second watch. That said, I found myself wishing the conclusion had gone even further to encapsulate the overwhelming dread and despair that had been building throughout the film. Given Watkins' proven ability to push boundaries, it felt like a missed opportunity to leave a more lasting impact.

Ultimately, I'll always hold the original in the highest regard. But as far as American remakes go, this one is impressively solid. Watkins has crafted a gripping, edge-of-your-seat thriller that will make viewers reconsider their approach to new friendships. Hardcore fans of the original will find much to appreciate in this version, as Watkins successfully puts his own spin on the story and brings together a talented cast who honor the original while delivering something fresh. Additionally, McAvoy's performance is nothing short of award-winning.

While the third act stumbles with a rushed and overly Americanized conclusion, it will elicit strong reactions and spark discussions like those surrounding the original. As a jaded critic who initially had little hope for this film, I've been proven wrong. I now consider it one of the year's best horror films and a worthy companion to Tafdrup's creation.

SPEAK NO EVIL arrives in theaters September 13.