Speak No Evil (2024)

With a disturbing storyline and a brilliant ensemble led by James McAvoy, Speak No Evil is a remake that both honours and departs from its Danish precursor. The film depicts the Dalton family—Ben (Scoot McNairy), Louise (Mackenzie Davis), and their daughter Agnes (Alix West Lefler)—who, after migrating to the UK, go on an apparently perfect holiday to Tuscany. Here, they encounter the Fields, a vibrant British family led by the mysterious Paddy (McAvoy). What starts out as a friendly escape gradually turns into a tense and unsettling nightmare as the Daltons become entangled in a web of social awkwardness and mounting peril.

The film’s cultural context is based on the examination of social standards and the often unstated bounds of civility. By contrasting American and British family dynamics, Speak No Evil explores the discomfort that emerges when civility conceals deeper intentions. This philosophical complexity is enhanced by a plot that deftly unfolds, showing the characters’ vulnerabilities and moral quandaries as they navigate increasingly odd situations.

James Watkins’ direction is superb; he captures the tension with deftness. He skilfully creates suspense, especially in sequences where Paddy’s pleasant mask begins to crumble. McAvoy’s portrayal of Paddy is brilliant; he alternates between friendly and sinister, creating a character who is both appealing and dangerous. His performance is memorable, displaying a range that keeps you wondering about his true nature. The supporting ensemble, particularly Davis and McNairy, give great performances, eloquently depicting their characters’ growing fear and helplessness as they struggle with their decisions.

The film’s score adds to the overall atmosphere, alternating between frightening tones and moments of laughter to break up the tension. The cinematography is key, with stunning settings standing out against the film’s darker themes. The use of colour is especially striking; the warm hues of the Tuscan sun contrast with the frigid, sterile interiors of the Fields’ home, creating a visual metaphor for the dichotomy of appeal and danger.

The editing is tight, with a quick pace that keeps you interested; however, some may claim that the second act drags slightly as character development takes precedence over action. While this choice adds depth, it can also cause impatience as you anticipate the ultimate conflict.

The dialogue throughout the film is crisp and frequently tinged with dark humour, expressing the protagonists’ discomfort and the absurdity of their circumstances. This creative writing resonates, making the characters’ struggle more relatable and their eventual demise more poignant.

While Speak No Evil departs from the original’s grim nihilism, it provides a new perspective that mixes terror with moments of dark comedy. Some may find the ending less adventurous than the first, but it neatly wraps up character arcs and gives a satisfying, if unnerving, climax. The movie ultimately acts as a commentary on the hazards of social niceties and ignoring red signs, making it a thought-provoking viewing experience.