As a seasoned horror enthusiast who’s seen more than a few slasher flicks and psychological thrillers, I must say that “Speak No Evil” is a unique addition to the genre. The film’s slow-burning tension and focus on social awkwardness are refreshing departures from the usual gorefests. Mackenzie Davis delivers an outstanding performance as Louise, capturing the discomfort and unease of a trapped woman with striking realism. Aisling Franciosi also shines as Ciara, keeping viewers on edge with her enigmatic portrayal.
If you’re not immersed in a “mental retreat”, traveling offers an exceptional chance to discover diverse cultures, tantalize your palate with novel flavors, and experience unique textures through touch. As demonstrated by the characters Ben (Scott McNairy) and Louise Dalton (Mackenzie Davis), travel also presents a wonderful opportunity to encounter new individuals. Their Italian vacation along with their daughter Agnes (Alix West Lefler) brings them into contact with Paddy (James McAvoy), his wife Ciara (Aisling Franciosi), and their nearly silent son Ant (Dan Hough). Paddy, a sociable soul, quickly becomes a friend for Ben in the vibrant Italian landscape.
Back in rain-soaked London, I, Ben, found myself trapped in the tumultuous whirlwind of my marriage with Louise. That’s when we received a postcard from Paddy’s family, inviting the Dalton trio for a weekend at their grand farm. After some persuasion from me, we packed our bags and ventured out to Paddy’s remote abode.
It’s well-known that Stephen King dislikes Stanley Kubrick’s adaptation of “The Shining,” and one reason for this disapproval is the casting of Jack Nicholson as Jack Torrance. According to King, having Nicholson in the role reveals the character’s psychological deterioration too early. Although I find Nicholson’s performance in “The Shining” commendable, King’s criticism lingered in my mind while watching “Speak No Evil.” The director James Watkins, who remade the 2022 Danish horror film of the same name by Christian Tafdrup, shows a remarkable ability to create understated tension. However, Watkins’ portrayal of McAvoy as Paddy in the movie is off-target.
From the beginning of “Speak No Evil,” McAvoy’s character Paddy appears menacing, both in his demeanor and physical appearance. His physique is quite imposing; McAvoy’s neck is adorned with prominent veins, reminiscent of pepperonis on a pizza. His biceps seem ready to burst from the Hawaiian shirts he wears. Paddy doesn’t fit the stereotype of a rustic country man compared to urban Ben, who drives around in his Tesla. Instead, he resembles Dave Bautista or a stuntman who might play Jason Voorhees. Despite James McAvoy’s efforts to make Paddy charming in his early scenes with the Daltons, his intimidating presence always shines through. The script requires him to be oppressive, rather than physically looming.
In this portrayal, McAvoy seems to embody the conundrum of today’s masculine movie stars: “Everyone is handsome, yet no one appears human.” Paddy is sculpted to such an extent that it’s difficult to accept him as a regular individual. His perpetual readiness for conflict makes his violent behavior less surprising. It’s unexpected when Jimmy Stewart transforms into Psycho’s Anthony Perkins, but it’s more predictable with Sydney Greenstreet, who initially seems harmless. The issue is further complicated by McAvoy being directed to play Paddy in a generic manner. His acting largely revolves around constant gruffness, baring of teeth, or sending menacing glares at Louise.
The aggressive acting style of McAvoy’s character, Paddy, during his monologue about the abuse and toxicity of parenthood undermines the intended impact of the scene. Instead of building tension, McAvoy’s intense delivery, filled with simmering rage, seems to suggest that he could erupt into violence at any moment. This performance, in turn, makes Paddy’s dark psychology too apparent from the start, which removes some of the suspense and drama from the film “Speak No Evil.” It almost feels like the creators are intentionally mirroring Stephen King’s critique of Jack Nicholson’s portrayal of Jack Torrance in “The Shining,” where a character’s evil is too overt, leaving little room for mystery or fear.
In my perspective as a devoted admirer, McAvoy’s performance, perhaps misjudged, weakens a film that otherwise demonstrates commendable dedication to maintaining an understated ambiance. As Jason Blum, the producer of Speak No Evil, often expresses, Blumhouse horror movies are designed to be effective even without the presence of spectral entities or torrents of blood. This intent is vividly reflected in the way Watkins accentuates the tranquility of domestic life throughout Speak No Evil. Scenes lasting for extended periods where Ben and Louise argue in their bedrooms unfold subtly, without any disruptive musical interludes or sudden jumps. For a large portion of the script, the sources of terror predominantly stem from social unease. Incidents such as vegetarians being pressured with meat, or tense conversations over dinner about ethical animal consumption, are the foundations for several suspenseful moments in Speak No Evil.
A rock-solid cast (save for a mishandled McAvoy) lends a sense of naturalism to these prickly interactions. Mackenzie Davis especially emerges as a standout with her achingly realistic depiction of a woman trapped in social hell. Her vivid eyes say so much about Louise’s discomfort even when she has to put on a grin for her husband. Kudos too to The Nightingale’s leading lady Aisling Franciosi for her quietly unnerving work as Ciara. Executing the character with a permanent grin and a soft voice, Franciosi constantly keeps you on edge. Is she just a good host? Is there something eerie going on with this lady? Franciosi nicely keeps you guessing.
The most remarkable aspects of “Speak No Evil” are derived from ordinary sources of fear. Watkins skillfully extracts fear from everyday, tense social situations, particularly the strife between spouses, which he captures with great detail. The exceptional performances by Davis and Franciosi are grounded in authentic human experiences. Regrettably, the third act veers into a typical home invasion film format, filled with rapid gunfire, heavy-handed dialogue, and a Molotov cocktail. Instead of subtle chills, these elements take center stage. Unfortunately, “Speak No Evil” falters slightly in its attempt to harmonize conventional horror movie elements with more realistic aspirations. Compared to recent Blumhouse horror releases such as “Halloween Ends” or “They/Them”, “Speak No Evil” is superior. However, you might find a more consistent enjoyment in a different, metaphorical “holiday”.
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2024-09-13 16:15