Speak No Evil
Two years ago, at @motelx , we sat down to watch the original Speak No Evil, and boy, did it leave a lasting impression. Fast forward to 2024, and here we are again, watching Blumhouse’s highly anticipated remake. This full-circle moment was exciting, though I’ll admit, I approached it with a bit of skepticism.
Speak No Evil was hands down one of our favorite films of 2022. It creeped us out to the core because of how disturbingly “real” it felt. So, when I heard about the American remake, I was worried. Could they capture that same raw, unsettling vibe? I knew an American production might not go as dark as the original, and that made me curious but also cautious.
The original Speak No Evil hits you like a gut punch—there’s no walking out of the theater with a smile. The emotional weight lingers long after. The remake, however, plays out a little differently. It’s more predictable, but thanks to James McAvoy’s stellar performance, you still leave the theater satisfied, albeit in a completely different way.
McAvoy has mastered the art of making the ordinary feel unnerving. Ever since Split, he’s brought this minimalistic, creepy energy to his roles, making them feel sinister without overdoing it. He continues this trend here, delivering a performance that is equal parts subtle and menacing.
At its core, the story remains the same—this horrifying situation could happen to anyone. What’s changed are some character motivations and how they handle the events, which shifts the tone and the final outcome. The result is a fresh take that, while less impactful than the original, still delivers plenty of thrills.
While McAvoy shines brightest, the rest of the cast is right there with him. Mackenzie Davis, Scoot McNairy, and Aisling Franciosi feed off his energy, creating a strong ensemble that keeps the tension simmering. Alix West Lefler and Dan Hough, the two young stars, grow into their roles, making the film’s twists even more believable.
James Watkins was an intriguing choice as director, and after watching the film, I understand why. This version is a different beast from Christian Tafdrup’s original, tailored more for an American audience. Watkins brings his own set of skills to make this remake not just a copy, but an engaging reimagining.
In the end, I’d still say the original packs a bigger punch, but this remake is no slouch. It’s a fun, thrilling ride that stands on its own merits.
So, what’s your take on remakes? Do you prefer a faithful recreation, or do you enjoy when a director puts their own creative spin on it?
