About the film (courtesy of Universal Pictures):
When an American family is invited to spend the weekend at the idyllic country estate of a charming British family they befriended on a vacation, what begins as a dream holiday soon warps into a snarled psychological nightmare.
Speak No Evil presents an intriguing premise: James McAvoy, known for his dynamic roles, takes the lead in a remake of a film acclaimed for its chilling exploration of social anxieties. The anticipation is palpable. Can McAvoy’s performance elevate this remake to new heights, or will it fall victim to the pitfalls of reimagined horror?
Speak No Evil begins with a deceptive tranquility. Ben (Scoot McNairy), Louise (Mackenzie Davis) and Agnes (Alix West Lefler) meet Paddy (James McAvoy), Ciara (Aisling Franciosi) and Ant (Dan Hough) who have a chance meeting and end up spending a weekend they won’t soon forget. Their lives unfolding against a picturesque backdrop. McAvoy embodies the patriarch, his charisma masking a subtle unease that simmers beneath the surface. As the narrative progresses, we witness a gradual erosion of normalcy. The tension builds incrementally, a slow burn that teases the horrors to come.
Director James Watkins employs a deliberate pacing that emphasizes the psychological torment experienced by the characters. The cinematography is stark and unsettling, capturing the isolation and vulnerability of the family as they become ensnared in a web of manipulation.
McAvoy’s performance is, as expected, captivating. He navigates the complexities of his character with nuance, portraying a man grappling with his own internal demons while attempting to interact with his new friends. The supporting cast delivers solid performances, adding depth to the family dynamic that lies at the heart of the story.
However, therein lies the film’s most significant flaw. The deliberate pacing, while effective in establishing a sense of dread, ultimately becomes a hindrance. The tension builds to a point where the audience yearns for release, for the horror to fully manifest. Yet, the film hesitates, clinging to its psychological thriller roots for far too long.
When the horror finally arrives, it is both shocking and disturbing. The inference is unflinching, a stark contrast to the subdued atmosphere that preceded it. Yet, the impact is diminished by the prolonged buildup. The audience, having been primed for so long, is left feeling somewhat numbed by the delayed gratification.
Speak No Evil‘s conclusion is both ambiguous and unsettling, leaving the viewer with lingering questions about the nature of evil and the fragility of human connection. While thought-provoking, it also feels somewhat unsatisfying, a testament to the film’s struggle to find its footing between genres.
In the end, Speak No Evil is a film that teeters on the precipice of greatness but ultimately falls short. It is a testament to James McAvoy’s talent and the director’s vision, yet it is also a cautionary tale about the dangers of overindulging in a slow burn. The film’s refusal to fully embrace its horror elements until the final act leaves the audience feeling both slightly frustrated and unfulfilled.
The previews attempt to sell audience a bill of goods that ends up being a bit of a bait and switch. I may be overselling this slightly, not dissimilar to what Universal Pictures and Blumhouse may have done with their advertising, but I was fully expecting more bloody mayhem to unfold. Even with the aforementioned letdown, Speak No Evil is a decent enough film to sit through with moments of brilliance, despite it ultimately being hindered by its indecision of how to present itself.
Judge for yourselves when Speak No Evil opens in theaters nationwide starting Friday, September 13th.
