SPEAK NO EVIL
***
Directed by James Watkins.
Starring James McAvoy, Mackenzie Davis, Scoot McNairy, Aisling Francisosi.
Horror, US, 110 minutes, Certificate 15.
Released in cinemas in the UK on 12th September by Universal and Blumhouse
It was a surprise when it was announced some time ago that the Danish horror SPEAK NO EVIL was in line for a remake from Blumhouse. Was this going to be another case of a US studio taking a darker than dark film and totally neutering it for mainstream consumption? Who can forget Georges Sluzier’s 1980’s exercise in simmering terror SPOORLOOS (aka THE VANISHING), and its ridiculous remake, also helmed by Sluzier, that completely defanged its horrifying ending in favour of a supposedly thrill packed conclusion that sent no-one home satisfied? The original SPEAK NO EVIL could be one of the most harrowing movies of this century so far, so would Blumhouse have the stones to repeat its horrifying nihilism?
For those twisted enough to put themselves through such cinematic torture voluntarily once again, some doubts may have been allayed with the announcement of James Watkins as writer and director. Who can forget that Walkins debut film EDEN LAKE could also be considered one of the meanest spirited films of the century? However, with James McAvoy lending his star power to the project this seemed to be another check against it going as far as Christian Tafdrup’s terrifying original. On the other hand though when the 15 certificate flashes onscreen there is a certain relief that we don’t have to sit through such darkness once more. Especially that bit with the shearing scissors.
What a relief then that Watkins has succeeded in delivering a film that is much better, and far more entertaining than expected. While more audience friendly it never feels compromised with Watkins expertly ratcheting up the tension and social commentary, even for those of us who are familiar with the story. This tale of an American couple, Ben and Louise,(Scoot McNairy and Mackenzie Davis reuniting here after the excellent TV series HALT AND CATCH FIRE) and their young daughter Agnes taking up an invite to visit the free spirited English couple Paddy and Ciara and their mute son Ant who they met abroad on holiday. The visit to their new friends' remote South England country house still manages to emanate an uncertain menace from its opening scenes. As the uptight American couple grin and bear it through several instances of boundaries being overstepped they soon discover that their over friendly hosts may be taking advantage of their polite natures for far more sinister reasons.
Watkins has delivered a film that is more wickedly entertaining than its source material. Maybe there is a twisted pleasure in knowing what exactly is afoot, particularly when sitting amongst an unfamiliar audience gradually working out how deep the shit is that the unsuspecting family finds themselves in. What is a surprise however is how funny things are this time around. While it could be argued that the original film was a blacker than black comedy of polite society Watkins really pushes it to the foreground here especially with McAvoy’s Paddy needling away at the cracks in the relationship of Ben and Louise with a huge grin on his face and his beefed up muscles dominating the frame, particularly against McNairy’s meek Ben.
The women are also given more to do here with characters that are arguably better written and fleshed out by Davis and Franciosi. Davis is given more of a backbone here while Franciosi provides more hints of a backstory as to her true nature, which comes out in subtle ways and is truly menacing when all is revealed. Even Agnes West Lefler as Agnes manages to make the credibility straining bunny scene, if you’ve seen the original you know the one, more believable and sympathetic here.
That being said there was a real commitment to the bit that the original pursued with such relentlessness that is abandoned here. However you may feel about it, you have to admire its purity. As entertaining as things are this time around, particularly with Watkins' look at social niceties, emasculation and macho culture, it is hard not to feel a little cheated that things are nowhere near as harrowing this time around, even if we have to listen to Rednex singing Cotton Eyed Joe one more time.
Iain MacLeod
