Speak No Evil ★★★½

THE difference between European arthouse cinema and Hollywood is starkly evident in the 2024 remake of Speak No Evil.

The original, released in 2022, was a Danish psychological thriller with one of the bleakest endings in recent film history.

It was written by two brothers, Christian and Matt Tafdrup, and directed by Christian. It began life as an independent release at various festivals where its reputation grew.

The American remake, from specialist horror studio Blumhouse, retains much of the original’s atmosphere and theme treatment, but its final act is remarkably different and much more mainstream.

Thankfully, in this case, that isn’t a criticism because both films are well worth seeing.

Hollywood remakes usually end up being pale imitations or reasonable efforts with altered, feel-good endings.

Writer/director James Watkins’ new version is neither of those; nor is it the ultimately pointless shot-for-shot Funny Games remake that Michael Haneke gave us in 2007.

Watkins has wisely chosen to retain much of the original and, specifically through acting performances, set-up a third act that still earns its differences.

So, what’s this film about? Don’t let people tell you too much.

Scoot McNairy and Mackenzie Davis play a married American couple with a young daughter. The family are living in London, but we are introduced to them on holiday in Europe.

They meet an English couple, played by James McAvoy and Aisling Franciosi, who have a young boy around the same age as their daughter. At the behest mainly of McAvoy’s character, Paddy, they start spending time together and get along well.

The reserved American couple are drawn to the Brits’ free-spirited nature and honesty and McNairy’s character is particularly intrigued by Paddy’s alpha-male antics and outlook.

A while after returning to work, the American family are invited to spend a weekend away with their new-found holiday friends. After some initial reticence they decide to go.

Around this time, we realise the Americans are dealing with a past experience that has impacted their relationship.

The long weekend away starts in the same fashion as they left off in Europe. But slowly they start to become irritated and then concerned by their hosts’ behaviour.

The tension builds and builds to breaking point and a shocking and violent final act.

In keeping with the comparison to the original, there are several points in the remake’s favour: the acting from all concerned is probably better, the underlying tension between the American couple is a good addition and the final act is extremely well staged and edited.

While it’s certainly not in the same league as Sam Peckinpah’s 1971 classic Straw Dogs, the remake’s final act is at times reminiscent.

Overall, this is one of the better remakes Hollywood has attempted of a European thriller.

Having said that, you should also seek out the original, which I still prefer, and be prepared for an even more intense experience.

Watched at the cinema.