Shadows on the Wall | Speak No Evil

Speak No Evil

dir-scr James Watkins
prd Jason Blum
with James McAvoy, Scoot McNairy, Mackenzie Davis, Aisling Franciosi, Alix West Lefler, Dan Hough, Kris Hitchen, Motaz Malhees, Jakob Hojlev Jorgensen
release US/UK 13.Sep.24
24/US Universal 1h50

Is it streaming?

Remaking a 2022 Danish thriller, writer-director James Watkins carefully builds gnawing unease before unleashing the menace. So the accumulated tension skilfully erupts into nail-biting suspense in the final act, expertly played by a terrific cast. The story also finds peril in everyday things like making new friends or retrieving a lost toy. And it cleverly plays on the inner worries that come with having a bad feeling about something.

Americans living in London, Ben (McNairy) and Louise (Davis) are holidaying in Italy with 11-year-old daughter Agnes (Lefler) when they meet the overly friendly Paddy (McAvoy), his lively young wife Ciara (Franciosi) and their mute preteen son Ant (Hough). Back in England, Ben and Louise visit their West Country farm for a weekend. While various red flags make them consider packing up and driving home, the affable Paddy keeps pulling them back in. Then one night, Louise finds Agnes in bed with Paddy and Ciara. Can they get out before things get even weirder?

Cleverly, the film ripples with insinuation without confirming that something is gravely wrong, putting the audience into Ben and Louise's perspective: it's clear that there's more to Paddy than his abrasive front, but he's so charming that he can't possibly be dangerous. And each character is dealing with something deeper that affects their interaction. The script inventively scatters evidence through the early scenes, gradually gaining traction without tipping over into the expected horror cliches. So the intensity worms its way under the skin before it erupts.

McAvoy gives a wonderfully snaky performance that's charismatic, annoying, sympathetic and ultimately terrifying. The final scenes require a rather outrageous shift, which he navigates with his full physicality. And he bounces superbly off the excellent McNairy, Davis and Francoisi, each of whom is allowed to create a complex, resonant character. Meanwhile, the young Lefler and Hough provide vivid moments all their own, evoking the emotions that give fuel to each twist and turn of the plot.

Because this movie plays on common fears in the way it sets up its increasingly freaky situations, we react to each new discovery right along with Ben, Louise and Agnes. This not only makes the revelations genuinely shocking, but it also generates terror in ways that feel almost eerily organic, simply because we're witnessing things that are so resolutely awful. This is a finely made thriller that frightens us in ways that are seriously nerve-wracking, which of course is seriously entertaining.

themes, language, violence 12.Sep.24

R E A D E R R E V I E W S

Still waiting for your comments ... don't be shy.