Directed by James Watkins, Speak No Evil marks James McAvoy's return to the horror genre after his beloved portrayal of Kevin Wendell Crumb in M. Night Shyamalan's Split (2016) and Glass (2019). The film has also caught the eye of movie buffs due to it being a remake of the critically acclaimed Danish film of the same name, which only hit the big screen two years ago. Although this remake has been questioned, particularly by fans of the original, Watkins' film expertly douses this with a fresh coat of paint by incorporating Blumhouse's special ingredient of less is more. Leaning on the psychological aspect of the genre while also being aided by standout performances, the director manages to create a gripping and nervy journey for audiences.
The film tells the tale of a dream holiday slowly unravelling into a nightmare as an American couple, Louise (Mackenzie Davis) and Ben (Scoot McNairy), along with their daughter Agnes (Alix West Lefler), spend the weekend with a British family — Paddy (McAvoy), Ciara (Aisling Franciosi) and their young boy, Ant (Dan Hough) – at their country estate. Watkins' new horror tale opens with an eerie and intelligently compact opening, where the audience is restricted to the POV of Ant, who sits in the back of a car while being visible in its rear-view mirror, as it drives to a dark house in the middle of nowhere. No dialogue, no clear shots (except for Ant's face); it's a subtle opening that nicely sets the tone for what is to come. Following this, we witness the meeting of our two couples on holiday — the reserved American couple and outgoing British couple – who come together after Paddy saves the day by finding Agnes' favourite teddy. Much like its opening, this portion highlights Speak No Evil's brilliant world building, dropping little details that create an incredible impact later on.
A notable scene in Watkins' Speak No Evil is when Paddy and Ben hunt foxes. Here, Paddy explains that his enjoyment lies in the chase, as opposed to the “kill.” It's a line that sheds light on McAvoy's character but is also the essence of the entire film. Speak No Evil operates at an almost methodical pace, creating a significant sense of dread and discomfort, but unlike the original, this is done with much less violence. There is no better illustration of this than the dance scene, when the children, Ant and Agnes, innocently perform their dance to the irritatingly catchy Rednex's “Cotton Eye Joe.” The slow unravelling of Paddy, who cannot control his rage at Ant's inability to stay in tune, is a wonderful contrast to the feel-good music and visual of two children performing. The tension is created through McAvoy's exquisite facials, with his face gradually shifting before a sudden burst of rage, which is expertly supported by Davis' strong yet withheld reactions to this alarming behaviour.
Along with an intelligently crafted screenplay that expertly plants seeds throughout the narrative, Watkins' film offers plenty of strong performances, none more standout than James McAvoy's. No matter the scene, one can't help but be drawn to McAvoy's character, as his energy perfectly embodies the film at every moment. Whether it's showcasing his charm when Paddy wins over Ben with jokes during their initial meetings or revealing his imposing physique in the third act to showcase a more intimidating version of Paddy; the actor plays his part to perfection. If audiences are watching for the Split star, they will not be disappointed.
Fortunately, this film does not wither when finally reaching its crescendo, concluding with an excellent climax that leaves no stone unturned. Kicking off with a beautiful use of reincorporation that forces our protagonists into action, the finale starts with a bang and never loses momentum. The ending showcases excellent arcs for our protagonists (especially Louise) while delivering a high dose of violence that has significantly more impact due to the lack of it earlier on.
Although Speak No Evil offers plenty to engage audiences, it does not come without some weaknesses. Watkins' story arguably moves too slowly at times, and it's often thanks to McAvoy that the film does not lose any momentum. In addition, coming so soon after the Danish version, fans of the original may not warm to a retelling of this story two years after the original hit cinemas.
In the end, Watkins has produced a wonderfully crafted film that earns its place among Blumhouse's impressive list of psychological horrors. Offering a less is more approach, the film plays with audiences at seemingly every turn, and McAvoy returning to a psychotic role is the perfect final piece of this impressive puzzle, ensuring you'll gladly pull up to the edge of your seat during this near 2-hour ride.
Speak No Evil hits cinemas on September 12th.
