A Surprising Remake From Blumhouse

In 2008, writer and director James Watkins made his first mark on the horror genre with his brutal survival horror Eden Lake. Following a couple on vacation trying to survive a group of violent teenagers, Watkins proved he wasn’t afraid to create twisted, violent, and poignant narratives about the horrors humans are capable of. He brings that sensibility to Blumhouse’s Speak No Evil (2024), an English-language remake of the 2022 Dutch horror film. While remaking that film just two years later is certainly a fascinating decision (to put it lightly), Watkins still crafts something darkly funny and deeply unsettling, all supported by a phenomenal cast, including a stellar James McAvoy.

The Daltons are on a beautiful Italian vacation. Made up of Ben (Scoot McNairy), Louise (Mackenzie Davis), and Agnes (Alix West Lefler), the trio is the quintessential modern family in that everyone is a little bit on edge and their daughter is suffering from near-constant anxiety that neither parent is sure how to handle. Then, they meet the cool family made up of Paddy (James McAvoy), Ciara (Aisling Franciosi), and Ant (Dan Hough). They laugh easily, joke easily, and seem to be deeply in love. Paddy’s masculine demeanor particularly attracts Ben, whose long, silent gazes at the couple betray a barely concealed jealousy at a life he desperately craves.

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After a magical Italian vacation together, the Daltons decide to visit their new friends in the British countryside. After recently relocating to London for Ben (who quickly lost that job as soon as they arrived), they’re light on friends and heavy on depressing isolation, especially due to the country’s signature grey skies and soggy weather. But as soon as they arrive at Paddy and Ciara’s farm, the Daltons are made uncomfortable by just about everything. From forcing meat on a vegetarian Louise to rather unorthodox parenting, the Daltons are constantly on edge. Well, at least Louise is, who is constantly whispering to Ben that she’s uncomfortable. But Ben, infatuated with Paddy and his ability to control his family, easily waves her discomfort away to buy him more time in this seemingly idyllic lifestyle.

But, Ben’s toxic desires paired with forced American politeness and a refusal ever to be perceived as rude build to an explosive crescendo when Paddy and Ciara’s true intentions are revealed in a final act that deviates from the original plot into something much less bleak, much less bloody, but still rather tense in a way that only Watkins can craft.

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The first two acts of Speak No Evil (2024) follow rather religiously in the footsteps of its predecessor. However, even if you’ve seen the original, Watkins’ writing and the ensemble of performances here keep the film from feeling stale. The surprises come in how Watkins crafts those deeply uncomfortable jokes and comments that make you squirm in your seat. He also gives interesting depth to the Daltons, especially when it comes to Ben and Louise’s tenuous relationship. Yes, they playfully touch and laugh with each other, but it’s the small moments when he disagrees with her or she puts her foot down that their shaky foundation is exposed.

This isn’t just a film about politeness, but about the ways in which toxic masculinity seeps into every facet of life and warps your perception of reality. Watkins makes the film feel even more contemporary and important by centering more of the film’s conversation on modern marriage and parenting.

McAvoy is obviously firing on all cylinders here as the manic Paddy who knows how to push people’s buttons, especially Ben’s. He knows how to pick people apart and poke at their insecurities, which McAvoy depicts with both glee and rage. Davis is an incredible foil, a WASP-y-looking mom who, when push comes to shove, isn’t afraid to get her hands dirty. McNairy’s Ben is a pathetic loser and I mean that as a compliment for McNairy who really makes Ben the most detestable worm on screen. And I’d be remiss to speak to the silent power of Franciosi, who could easily become a wallflower but her poise is unsettling, which makes her much scarier than meets the eye.

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Importantly, Speak No Evil (2024) does not take the bleak and brutal turns of its predecessor, instead opting for a more Hollywood approach that’s relatively bloodless. While an obviously commercial decision to help bring in a wider audience, it’s disappointing to see not only Watkins’ wings clipped, but also to see a lack of risk taken by Blumhouse in crafting the remake.

For those who loved the original film, Watkins’ Speak No Evil may not go deep enough or stray far enough away from its predecessor to stay engaging, especially for its first two acts. However, for audiences unfamiliar with the original, it’s a fascinating treat that goes to some bizarre places. At my screening, audiences were cheering in their seats, groaning in frustration, and yelling in rage with each new baffling decision. People were invested in the journey and that investment was invigorating for me as everyone was excited to engage with what they saw on screen. With Watkins at the helm, Speak No Evil (2024) is a surprisingly poignant English-language adaptation that not only understands the source material, but isn’t scared to dig a little deeper into the darkest corners of human psychology.

Speak No Evil (2024) comes to theaters on September 13, 2024.

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