As a gamer who has navigated countless virtual worlds and faced countless digital horrors, I can confidently say that “Speak No Evil” is a cinematic rollercoaster ride worth every penny. The film’s ability to seamlessly blend humor with suspense is reminiscent of those old-school point-and-click adventure games where you never knew whether the next door would lead to a hilarious gag or a heart-pounding chase sequence.
Many times, movies in the thriller or horror genres that feature ordinary individuals in perilous circumstances portray their protagonists as frustratingly unintelligent due to structural purposes. Common stereotypes are as predictable as they are worn-out: a woman bravely returning to a house where the murderer could be lurking; battle-scarred heroes assuming the villain is truly deceased and not feigning death. However, “Speak No Evil,” the latest film from director James Watkins of “Eden Lake,” breaks this mold.
Speak No Evil” is primarily a gripping psychological drama, where the characters are crafted with depth, so when they make choices detrimental to themselves, it’s driven by their personal shortcomings rather than mere plot convenience. The story revolves around a couple, Ben (Scoot McNairy) and Louise Dalton (Mackenzie Davis), along with their daughter Agnes (Alix West Lefler). They reconnect with a British couple, Paddy (James McAvoy) and Ciara (Aisling Franciosi), whom they met on vacation in Italy. The initial awkwardness of social etiquette gradually transforms into a chilling suspense storyline.
The Danish movie, titled similarly, directed by Christian Tafdrup, shares numerous similarities in plot structure with its source material. However, unlike the original, Tafdrup’s intention is to satirize societal norms and their role in enabling exploitation. This makes it challenging to empathize with the characters, as they appear too foolish and unremarkable for pity or sorrow. Moreover, the film’s chilling finale surpasses the original’s disturbing elements, making it hard to continue watching.
Instead of relying solely on an exceptional cast and well-crafted screenplay, Watkins skillfully utilizes these elements, allowing the actors’ outstanding performances to shape a production that, while still unsettling, is far more engaging and enjoyable to watch.
An uncomfortable countryside getaway
Upon encountering Paddy and his wife Ciara for the first time, Ben and Louise find themselves drawn to form an amicable bond. Ben appears to be disenchanted with their holiday in Italy. Whether it’s the subtle tension between him and his spouse or ongoing annoyance with their daughter Agnes and her clingy toy bunny, this trip seems to offer him a respite from the cracks in the peaceful veneer of his family life. However, Paddy and Ciara, who have everyone laughing at group dinners and are seen carefree on a vespa with their son Ant (played by Dan Hough), present an appealing alternative to Ben’s own family dynamics, serving as a more enjoyable reflection of himself.
After coming back to their dull, rain-soaked London flat, where the vibrant hues of their vacation seemed to vanish from the movie’s color scheme and everyday life resumed its monotony, it’s easy to understand why Ben might consider accepting Paddy’s postcard invitation. Even though Louise points out that they hardly know these people, it’s a long trip to spend an entire week with them. With Ant, a quiet boy who seemed drawn to the nervous Agnes, and the lingering shadow of Louise’s recent infidelity, Ben’s hopeful gaze alone is persuasive enough for her to agree.
Initially, things appear somewhat off-kilter, yet every ominous sign serves as a clear warning for the chilling events ahead. However, there’s a logical, understandable reason behind the discomfort. Every argument and awkward blunder feels familiar, like they belong in an episode of “The Office,” except for the lingering feeling of apprehension that hangs over every silent moment. Preparing a bird for a vegan dinner guest? Perhaps it’s a mistake or forgetfulness, but it could also be malicious intent! James Watkins skillfully constructs his adaptation’s script so that the progression from uneasy comedy to nerve-wracking thriller unfolds smoothly and intensifies gradually.
As a fervent spectator, I find the constant back-and-forth between “Are these characters potentially killers?” and “Are we just overreacting?” to be remarkably effective, largely due to the authenticity and conviction portrayed by the performers in their complex interactions.
Is the cure to male loneliness vacationing with potential murderers?
As a captivated spectator, I found Scoot McNairy’s portrayal of Ben so profoundly timid that it never crosses your mind he’s not just cautious rather than foolish. His eagerness to make friends and avoid conflict is so palpable, it explains his compliance with anything thrown his way. On the flip side, James McAvoy’s performance is a mesmerizing rollercoaster ride that might lead viewers to overlook his character’s unsettling instability, hoping he’s merely an eccentric soul with good intentions. One moment, he’s moved to tears reciting Philip Larkin’s poem “This Be The Verse,” and the next, he’s enacting a bizarre skit under the dinner table mimicking intimate acts. The swift transitions between his mood swings are truly a spectacle to behold. In this role, McAvoy demonstrates a captivating and intriguing range that surpasses even his complex portrayal of multiple personalities in “Split.
Instead of exploring the general complexities of social norms in the original, James Watkins appears to be satirizing a particular type of man represented by McAvoy’s character Paddy. This is the rugged, do-it-yourself kind of guy who feels offended by political correctness and the deceptive niceties we often employ in the name of supposed civility. The film could have been a more subtle exploration, allowing for a less definitive interpretation as it compares these conflicting married couples. Such an approach might have allowed Mackenzie Davis and Aisling Franciosi’s characters to develop beyond their roles as the wives of their contrasting husbands. As it is, however, Davis becomes increasingly significant in the third act, serving as a surprising strength for the film.
Gladly, “Speak No Evil” doesn’t drag things out. While it does grapple with concepts similar to its original work, when it comes down to it, Watkins is eager to serve up the violence and chaos that’s been brewing beneath the surface all along. There’s no need to twiddle thumbs waiting for the fireworks factory; the humor and tension are more than enough to keep us entertained until the story inevitably spirals into the bloodshed that American audiences will be craving.
“Speak No Evil” premieres in theaters on September 13.
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2024-09-10 19:30