Fans of the 2022 Danish film might question why Speak No Evil needs an American remake. James McAvoy is one reason. Mackenzie Davis is an equally great reason. Beyond the excellent casting, is there a reason to see the remake if you already know the original’s twists? If the remake followed the same blueprint, there probably wouldn’t be much to talk about. Writer/director James Watkins wisely doesn’t pull a copy/paste job, however. While Watkins respects the original, he takes the story in a different direction. Whether or not it’s a better direction will come down to personal preference, although it’s nice to have two options.
On vacation in Italy, Louise (Mackenzie Davis) and Ben (Scoot McNairy) befriend Paddy (James McAvoy) and Ciara (Aisling Franciosi). Hitting it off, Paddy and Ciara invite the couple to visit their secluded cottage in the country. Louise and Ben figure it would be good to get away with their anxious daughter Agnes (Alix West Lefler), who still can’t sleep without a stuffed animal. Paddy and Ciara also have a son named Ant (Dan Hough), who struggles to speak because he was born with a shorter tongue. At least that’s what his parents claim.
Even if you haven’t seen the original, the audience will catch on quicker than the characters do. Soon enough, Louise and Ben begin to see through Paddy and Ciara’s charming facade. Agnes also suspects that Ant is trying to tell her something about his parents, but she can’t understand what. Whether or not you know where the story is going, Speak No Evil balances intensity, humor, and uncomfortable relatability. Louise and Ben can sense that something is off about their hosts. Since they can’t quite put their finger on it, politeness trumps an instinct to run for the hills.
While you might question some of their choices, Louise, Ben, and young Agnes prove more resourceful than expected, especially in the third act. At just under two hours, Speak No Evil could’ve gotten to its big reveal sooner. The buildup is consistently gripping, however. McAvoy, in particular, is so charismatic that it’s easy to overlook what lies beneath the surface. Once the truth comes out, the payoff is every bit as thrilling and unsettling as one would hope. The suspense doesn’t end with the twist, as we’re left guessing how the characters will get out of this predicament. This is where Speak No Evil differs the most compared to its predecessor.
Although some will favor the original’s uncompromising finale, the changes here aren’t unwelcome. Aside from distinguishing the remake, the third act here is more accessible to a mainstream audience. That doesn’t mean Watkins betrays the original or dumbs down the material. It’s a bit like comparing the theatrical ending of Little Shop of Horrors to the original ending. Tonally, the two endings are opposites, but one isn’t necessarily better than the other. Since we already have one version of this story, it makes sense for Watkins to provide an alternative that ultimately works. Preserving the essential elements while adding new ingredients, other remakes could learn from Speak No Evil.