By Alex McPherson

Crowd-pleasing but toothless, director James Watkins’ “Speak No Evil” mixes potent themes into a sanitized experience that, when it’s not doing a shabby copy-and-paste job of Christian Tafdrup’s 2022 original, turns its powerful setup into easily-digestible fodder for the masses.

For its first moments, Watkins’ film replicates Tafdrup’s shot-for-shot and line-for-line, albeit changing the nationalities of its central players. We follow Ben and Louise Dalton (Scoot McNairy and Mackenzie Davis), an American couple living in London who are vacationing in Italy with their middle-school-aged daughter, Agnes (Alix West Lefler), and Agnes’ stuffed animal rabbit, Hoppy.

Amidst their wealth and privilege, Ben and Louise have a troubled marriage as they deal with the fallout from Ben’s recent unemployment and a marital betrayal bubbling to the surface. 

While relaxing at a pool, Ben and Louise are approached by the English Paddy (James McAvoy) and his wife Ciara (Aisling Franciosi) and they strike up a near-immediate friendship. Paddy is confident, charismatic, rowdy, and unafraid to make himself the center of attention.

The Daltons (especially Ben) are pulled into his orbit, both by their own accord as well as by Paddy’s not-so-subtle pushiness that they just can’t say no to. Paddy and Ciara are accompanied by their son Ant (Dan Hough), who is around Agnes’ age and has difficulty speaking. This is explained away as “congenital aglossia” by Paddy, who claims to be a doctor.

Shortly after the trip ends and the Daltons are back in gloomy, rain-soaked London, where their upper-middle-class contentment frays at the seams, they get a letter from Paddy and Ciara inviting them to their remote farmhouse in the English countryside. Although Louise is skeptical, she begrudgingly agrees with Ben — who sees a form of “alpha male” masculinity in Paddy that he craves in his own life — that a change of scenery would be good for them as well as for Agnes. 

Thus, against their better judgment and moviegoers yelling “No!” at the screen, the Daltons drive their Tesla to the in-your-face creepy house in the countryside. Everything is off from the get-go and proceeds to get worse: from Paddy and Ciara’s increasingly overstepping of boundaries (often of a sexual nature), to the concerning ways they treat Ant and Agnes, to the calm-and-collected explaining-away of any worries that the Daltons have about their vacation destination.

It’s just weird. And Ben and Louise — too uncomfortable and cowardly to stand up for themselves and what they believe in — are soon trapped in a hell of their own making. 

Indeed, in its interrogation of social niceties, malaise, toxic masculinity, and inaction in the face of evil, Watkins’ “Speak No Evil” speaks to our current political climate.

The Daltons’ predicament is not completely implausible; they’re led away from their normal lives by the allure of the unfamiliar, not unlike the followers of a cult leader, falling victim to impulses that they’re unwilling or unable to counter with rational thought.

Unlike Tafdrup before him, though — who fully gives in to the nihilistic, misanthropic leanings of the premise— Watkins definitely pulls his punches this time around.

Not even an unhinged performance from McAvoy can save a film that’s seemingly scared of what its characters are capable, or incapable, of doing.

That’s not to say 2024’s “Speak No Evil” doesn’t have its merits. McAvoy slides comfortably into making viewers uncomfortable every step of the way. It’s not exactly a “novel” performance for McAvoy, who’s played similar characters in the past, but he’s chilling and (more so than his 2022 equivalent played by Fedja van Huêt) darkly funny — pushing the Daltons’ buttons with mischievous pleasure.

Paddy’s smile and frat boy-esque behavior belies a propensity to lash out if his authority and “control” is questioned. Franciosi is suitably creepy and off-kilter, although Watkins’ screenplay gives her a new backstory that robs Ciara of her chilling ambiguity.

McNairy definitely embodies Ben’s insecure, “beta male” attitude, but it’s occasionally difficult to discern between what is an intentionally awkward delivery and what is just plain awkward. He doesn’t get enough chances to show the fire burning beneath Ben’s eyes, making it difficult to buy Ben’s attraction to Paddy. 

Davis fares marginally better, but, like the other characters, Watkins’ script doesn’t grant her much subtlety or ambiguity. Louise knows something’s very wrong from the outset, yet she remains hesitant to act on her beliefs out of guilt for her husband and a desire to keep the peace.

Hough shines brighter than McNairy and Davis as the damaged Ant. It’s too bad he’s forced into scenarios that, when they’re not outright copying what’s been done better before, turn Ant’s arc into a seen-it-before spectacle.

And this is emblematic of where 2024’s “Speak No Evil” falters more broadly. There’s a general lack of tension — the film’s editing is clunky and imprecise, only sometimes slowing down to let us get immersed in the at-times agonizing situations the characters find themselves in.

Gone from the new film is the memorably jarring score by Danny Bensi and Saunder Jurriaans, the no-holds-barred commitment to the bit, and the heartbreaking sensation of watching an inevitable catastrophe. 

Instead, by the time the third act rolls around, 2024’s “Speak No Evil” slides into derivative territory that leaves us cheering instead of disturbed, swapping poignancy for “fun” that is just that: disposable and disappointingly safe. 

It is, admittedly, amusing to experience in a crowded theater, where everyone can have a ball watching the film turn into a haunted house of cathartic set-pieces and slapstick violence. Watkins gives these characters far more agency than Tafdrup does.

Still, by altering the trajectory of their story so drastically, Watkins tones down the ballsiness that made Tafdrup’s telling memorable, almost rendering it a parody of what’s come before.

“Speak No Evil” ultimately doesn’t have much faith in viewers’ attention or ability to embrace the unexpected. It’s a frustrating, if campily enjoyable, remake that never quite proves its worth.

“Speak No Evil” is a 2024 horror-comedy written and directed by James Watkins and starring James McAvoy, Aisling Franciosi, Scoot McNairy, Mackenzie Davis, Alix West Lefler and Dan Hough. It is rated R for some strong violence, language, some sexual content and brief drug use, and its runtime is 1 hour, 50 minutes. It opens in theatres Sept. 13. Alex’s Grade: C.


By Lynn Venhaus
Ah, polite society vs. listening to your natural instincts is at the heart of this intriguing psychological thriller-horror film “Speak No Evil,” which is an American remake of a bleaker 2022 Danish film.

In the hands of genre specialists Blumhouse Productions, the horrormeisters behind such franchises as “Insidious,” “Paranormal Activity” and “The Purge,” in addition to “Get Out,” M. Night Shyamalan’s “Split” and many more, this American version has been reimagined as a family pushed to the brink who fights back in a hair-raising showdown.

After meeting on vacation in Italy, an American family who uprooted their lives for the dad’s job in London is invited by a fun-loving British couple to their farmhouse in the remote countryside in southwest England called “the West Country.” Even though the hosts aren’t well-known, they decide to be spontaneous and go, as their kids hit it off. However, the weekend turns into a psychological nightmare that wreaks havoc on their lives.

Writer-director James Watkins, who crafted the thrillers “Eden Lake” and “The Woman in Black,” stuck to the original’s plot rhythms at first, but veered away from Danish writer-director Christian Tafdrup’s European social commentary, and then swapped out the unsettling gruesome ending for American-style action mayhem, although still disturbing overall. Tafdrup is one of the executive producers on this film.

This is one of those mainstream, no-frills, straight-up suspense movies injected with humor that must be seen at the theaters with an audience, for the laughs, gasps, cheers, and applause responses are as much fun to experience as watching all hell break loose on screen.

The Daltons – Agnes (Alix West Lefler), Louise (Mackenzie Davis) and Ben (Scoot McNairy) in “Speak No Evil.”

While it does take a while to get to the unnerving conflicts, that feeling of uneasiness when you don’t listen to your hunches keeps building to a discomforting second-guessing level. There are so many red flags and tell-tale signs that the American guests ignore or brush away at the risk of not being gracious and offending their hosts.

You know that phrase by Maya Angelou about when people show you their real selves, believe it? These are the nagging doubts that escalate with the psychological thriller set-up. The couple from the states, the Daltons Ben (Scoot McNairy) and Louise (Mackenzie Davis), are parents of an 11-year-old daughter Agnes (Alix West Lefler) who frets and is never without her ‘worry bunny’ Hoppy, a stuffed animal. While on vacation in idyllic resort in Tuscany, the trio doesn’t seem to be having much fun.

Enter James McAvoy as Paddy, a life-of-the-party guy whose wife Ciara (Aisling Franciosi) is friendly, too. Their son Ant (Dan Hough) doesn’t speak, which is explained as a condition he was born with, a malformed tongue. Paddy is a doctor, after all, so nobody questions why the son seems so sullen.

The British couple is so jovial and engaging in conversation that when the Americans receive an invite for a weekend in the country, they dismiss their fears about strangers and show up at this remote estate. A getaway from rainy London seemed like a good idea, and they’re trying to fit into their new home, make friends.

McAvoy, a favorite since his impressive work in “The Last King of Scotland” in 2006 and “Atonement” in 2007, goes all in as a convivial host who’s at first a tad pushy, then some toxic masculinity surfaces. As the guests start sensing something isn’t quite right, he then reveals what a sociopath he really is in bursts of aggressive and crossing-the-line behavior.

Why is he acting so different, seething and not respecting boundaries? The three guests will soon find out and be freaked out, questioning his intentions.

McAvoy is one of those intense actors who can play the hero (Charles Xavier aka ‘Professor X’ in the “X-Men” prequel series “First Class,” “Days of Future Past,” “Apocalypse” and “Dark Phoenix,” and attorney Frederick Aiken in “The Conspirator”) or the villain (multiple personalities in “Split” and “Glass”) and be believable as both.

Couples out to dinner in the “West Country.” Aisling Franciosi, James McAvoy, McNairy and Davis.

Here, he is gleefully over the top as a sinister con artist masquerading as a company-loving gentleman farmer but hiding ugly truths and terrible secrets. He is the most fun to watch when going ballistic, but he has a flair for comedy that his film roles don’t often indicate (obviously humorless in “It Chapter Two” and “Atomic Blonde”).

The other adults are believable as they wrestle with fight-or-flight impulses, and the two youths are surprisingly effective. Their dance routine to “Cotton-Eye Joe” is a sweet example of something innocuous that turns ugly.

McNairy, often in supporting roles (“Argo,” “Men”), excels as a guy going through some things, questioning his role as a husband and a father. He is not the alpha-male Paddy is, making him look weak and indecisive, more on the passive-aggressive side.

His wife, who appears to have the upper hand, is played by the likable Davis, who starred with him for four seasons on the AMC series “Halt and Catch Fire.” She’s more forceful, but is trying to be amenable in a social setting. She also made her mark in “Terminator: Dark Fate” as an action star.

They realistically portray an unhappy married couple going through some bumps and trying to work through them, yet disagreeing on parenting philosophies while trying to be polite as guests.

They keep shaking off their doubts, much to the dismay of the audience who knows what “I’ll be back” usually means. Of course, with all horror movies, some logic and credibility are stretched. We’re put in their shoes as they make decisions, both smart and very unwise.

Dan Hough and Lefler as Ant and Agnes.

The darkness is creepy, but we’re not going to be getting too many answers here as survivor skills kick in. Jon Harris’ editing is first-rate, and so is the cinematography by Tim Maurice-Jones, and the isolated feeling adds to the story.

Comparisons to the 1971 Sam Peckingpah film “Straw Dogs” are fitting, with an American astrophysicist (Dustin Hoffman) and his beautiful British wife (Susan George) pushed to the breaking point by locals harassing them, only sex never enters into this scenario. (Well, except for Paddy-Ciara getting frisky in public).

“Speak No Evil” satisfies mostly as a crowd-pleaser that is ideally suited as an entertaining end-of-summer romp without too much gore or any jump scares. It’s certain to make your staycation plans all the more appealing – or have you think twice when people you don’t know well invite you somewhere.

“Speak No Evil” is a 2024 horror-comedy written and directed by James Watkins and starring James McAvoy, Aisling Franciosi, Scoot McNairy, Mackenzie Davis, Alix West Lefler and Dan Hough. It is rated R for some strong violence, language, some sexual content and brief drug use, and its runtime is 1 hour, 50 minutes. It opens in theatres Sept. 13. Lynn’s Grade: B.

By Alex McPherson

Directors Stephen Daldry’s and Justin Martin’s new film set during the current COVID-19 pandemic, “Together,” is an intense, powerfully acted, and morally troubling drama.

The film centers around an unnamed couple in the UK struggling to maintain their sanity in pandemic lockdown. “He” (James McAvoy) is a self-satisfied, conservative Alpha Male who manages a boutique consulting firm. “She” (Sharon Horgan) is a left-leaning charity worker with an acid tongue of her own. They live a middle class existence, while neglecting to give their introverted son, Artie (Samuel Logan), much parental attention.

From the moment viewers lay eyes on them, He and She bicker incessantly, piling on the insults in semi-teasing awfulness. The two opposites are stuck together in dire times, developing some semblance of compassion toward each other and the world at large as they endure the COVID-19 emergency.

Daldry and Martin’s film, with a screenplay by Dennis Kelly, is timely to a fault — using current events that have impacted us all as a background for an irritatingly predictable narrative. Despite this, however, “Together” is still a captivating viewing experience, largely thanks to its theatrical presentation and the dynamism of the two leads.

Indeed, “Together” feels highly reminiscent of a stage play, as He and She talk directly to the camera from the first scene onwards, vying for the center of viewers’ attention. This cinematic technique successfully puts viewers in the uncomfortable position of feeling like they’re right in the thick of things with these two flawed “adults,” forced to view their chaotic conversations without a possible exit. As interactions oscillate between being mean-spirited and hopeful, smirk-inducing and devastating, “Together” is relentless during the full 90-minute runtime.

Horgan and McAvoy have tangible chemistry, and their fast-paced dialogue conveys a mostly believable relationship. They’re able to handle comedic lines effortlessly — including an embarrassing exchange about their sex life — while also nailing the more dramatic beats as the months drag on. McAvoy, likably hyper as ever, showcases the insecurities that bely his character’s cynicism. Horgan shines as someone firm in her “good” beliefs who retains her own selfish tendencies. Combined with the film’s fourth-wall-breaking presentation, He and She seem like real people viewers might know. They both dislike and, deep down, care for one another.

Still, “Together” can only stay afloat on acting talent for so long. The story, good intentions notwithstanding, plays upon real-world traumas to somewhat generic effect. A particular subplot involving She’s elderly mother is emotionally devastating but foreseeable from the get-go. It concludes with an impassioned speech from Horgan about the meaning of the word “exponential” regarding viral infection and the government’s fumbling of crucial facts surrounding the illness. In retrospect, it all seems pretty obvious for anyone who isn’t a devoted consumer of misinformation.

“Together” is packed with scenes designed to elicit tears from viewers, but it doesn’t add anything particularly new to the discussion surrounding the global health crisis, nor does it illuminate a perspective that needs to be illuminated. The protagonists are so privileged, all things considered, and their respective character arcs surrounding basic human decency and not taking loved ones for granted aren’t exactly revelatory. If films like “Together” set during COVID times become more common, filmmakers run the risk of using it as a gimmick to grab viewers’ attention, instead of exploring it from new, insightful angles. This film, unfortunately, falls into the former category.

For all its attempts at relevance and its first-rate performances, “Together” doesn’t sit particularly well amid our current climate, where there’s no end in sight regarding the virus’ evolving mutations. It brings together broad social commentary and standard plotting to end up with something above average, but markedly inessential.

“Together” is a 2021 romantic comedy-drama directed by Stephen Daldry and co-directed by Justin Martin and starring James McAvoy, Sharon Horgan and Samuel Logan. Rated R for language throughout, the movie runs 1 hour, 31 minutes. In theaters Aug. 27 and on demand and digital Sept. 14. Alex’s Grade: B-