‘Speak No Evil’ Lures You Into Its Trap and Doesn’t Let Go

1 Comment

Three Characters Trying Not to Speak Any Evil (CREDIT: Susie Allnutt/Universal Pictures and Blumhouse)

Starring: James McAvoy, Mackenzie Davis, Aisling Franciosi, Scoot McNairy, Alix West Lefler, Dan Hough

Director: James Watkins

Running Time: 110 Minutes

Rating: R for Violence, Disturbing Behavior, and a Little Bit of Innuendo

Release Date: September 13, 2024 (Theaters)

What’s It About?: Americans Louise and Ben Dalton (Mackenzie Davis and Scoot McNairy) are feeling a little adrift ever since moving to London with their 11-year-old daughter Agnes (Alix West Lefler). While on vacation in Italy, they forge a bit of a connection with British couple Paddy and Ciara (James McAvoy and Aisling Franciosi), whose son Ant (Dan Hough) has trouble speaking because he’s missing part of his tongue. Paddy and Ciara are friendly, if perhaps a smidge too forward. But Louise and Ben are vulnerable enough to be won over by their sway, and it also helps that the chronically anxious Agnes opens up when she’s around Ant. So the Daltons soon find themselves guests at Paddy and Ciara’s remote countryside estate, but this idyllic retreat gradually becomes more and more suspicious. Forgivable faux pas like Paddy feeding the vegetarian Louise the first bite of the prized cooked goose quickly give way to more frightening secrets, like Ant revealing his bruises to Agnes. Louise wants to vamoose at pretty much the first warning sign, and it’s not long before Ben and Agnes are feeling the same.

What Made an Impression?: We Don’t Know the Half of It: You might think you know exactly what is going to happen in Speak No Evil. It has the sort of trailer that appears to give away the entire plot, plus it’s a remake of a Danish film that came out just a couple years ago. I haven’t seen the original, but I have watched the trailer, and there are some key moments that are remixed this time around. I guessed the major third act reveal based on the previews, and I’m sure I won’t be the only one. But that’s just the tip of the iceberg. Every inch and crevice of McAvoy, Franciosi, and Hough’s performances scream “Something’s not right here!” As the thorough depravity of Paddy and Ciara’s designs are brought into the open, it’s riveting, profoundly alarming, and breathtaking.
Bonding Through Trauma: A shared stressful experience, if handled sufficiently, can deepen the bond of a relationship. And well, Louise and Ben could sure use some relationship strengthening. They’re reeling from a minor case of infidelity, as well as resentment from Louise putting her career on hold for Ben’s sake, plus just general feelings of existential instability. So perhaps it was fated that they would run into Paddy and Ciara, who kind of fancy themselves as amateur therapists. In a more good-natured movie, the Daltons would probably be eternally grateful for their intervention, but in truth, they’re profound manipulators. Nevertheless, the ultimate effect is the same, as Louise and Ben manage to find their way back to each other through this terrifying gauntlet.
Resourcefulness is Key: Isn’t it so satisfying to watch movie characters be resourceful? (I have to tip my hat to Kyle Buchanan for elucidating this observation during a recent guest appearance on the Blank Check podcast.) The Daltons don’t appear to have ever been trapped in a situation as disorienting as this one, but it’s immediately clear that they’ll just have to figure it out if they’re going to survive. I for one couldn’t peel my eyes away from their efforts, as evidenced by the fact that I didn’t write a single thing down in my notebook for the entire 110 minutes. Often when thriller protagonists are captivatingly resourceful, it’s clear what experience they’re drawing from, even if their backstories are merely hinted at. In the case of Speak No Evil, that’s a little less true. In fact, it’s a running theme how ineffective Louise and especially Ben feel in their daily lives. But the experience of raising a child can go a long way. If you’re going to be a decent parent, then you necessarily figure out a lot along the way as the years roll by. So when Louise and Ben start surreptitiously grabbing makeshift weapons and cleverly scoping out their surroundings, we buy that they’re able to pull this off by virtue of their dedication to protecting Agnes. If you want to believe that you’ll similarly always be there for your kids, it’s worth checking out Speak No Evil to see how it tests your mettle.

Speak No Evil is Recommended If You Like: Psycho, You’re Next, Orphan

Grade: 4 out of 5 Scissors

My Second Voyage with The Meg, My First Voyage with the Demeter

Leave a comment

Meg 2: Dracula Boogaloo (CREDIT: Warner Bros. Pictures/Screenshot; Rainer Bajo/Universal Pictures and Amblin Entertainment)

Meg 2: The Trench:

Starring: Jason Statham, Wu Jing, Shuya Sophia Cai, Cliff Curtis, Melissanthi Mahut, Page Kennedy, Sergio Peris-Mencheta, Skyler Samuels, Sienna Guillory, Whoopie Van Raam, Kiran Sonia Sawar, Felix Mayr

Director: Ben Wheatley

Running Time: 116 Minutes

Rating: PG-13

Release Date: August 4, 2023 (Theaters)

The Last Voyage of the Demeter:

Starring: Corey Hawkins, Aisling Franciosi, Liam Cunningham, David Dastmalchian, Javier Botet, Woody Norman

Director: André Øvredal

Running Time: 119 Minutes

Rating: R

Release Date: August 11, 2023 (Theaters)

More

Movie Review Awful People in History Edition: The Nightingale

Leave a comment

CREDIT: IFC Films/YouTube Screenshot

Brutal. So brutal. Has there ever been a movie as brutal as The Nightingale?

It is undoubtedly well-crafted and undeniably well-acted, but is that good enough to justify the brutality? Could it ever possibly be good enough?

Here’s what happens: an Irish woman who’s been convicted of theft and taken to Tasmania, Australia in 1825 is raped multiple times by the English officer who is basically her slave master. Then she watches as her husband and baby are suddenly killed. With the help of an Aboriginal tracker, she then sets out on a revenge mission, and along the way, there are more rapes and murders, as well as a liberal dash of stabbing and blunt force trauma. The total disregard for the lives of women, people of color, and young children is stunning, but considering human history, not exactly shocking. But thankfully it is clear that writer/director Jennifer Kent is giving narrative precedence to the abused and exploited. Ultimately, this fits in a cinematic tradition that is fundamentally unenjoyable but an important corrective for those whose stories have been wiped out.

I give The Nightingale My Understanding for Why It Must Exist.