Speak No Evil (2024) Review

Speak No Evil (2024) takes the bones of the 2022 Danish horror original and crafts something distinctly its own. While the decision to remake a film so soon after its release raised eyebrows, James Watkins manages to transform the material into an effective, darkly comedic thriller that feels tailored to an American audience without losing its edge.

The story follows the Dalton family — Ben (Scoot McNairy), Louise (Mackenzie Davis), and their daughter Agnes (Alix West Lefler) — as they are invited to the countryside home of Paddy (James McAvoy) and Ciara (Aisling Franciosi), a couple they meet on vacation. What starts as a polite, if awkward, visit quickly spirals into tension, manipulation, and, violence.

The strength of this remake lies in its tone. Unlike the original’s relentless bleakness, Watkins injects moments of dark humor that provide levity without undermining the underlying dread. This tonal shift might alienate purists of the original, but it works for a mainstream audience, drawing them in with awkward exchanges and biting humor before hitting them with bursts of terror.

James McAvoy delivers a career-best performance as Paddy. His charm and unpredictability make him the perfect antagonist, a layered character who teeters between affable host and unhinged predator. Mackenzie Davis shines as Louise, portraying a woman torn between survival instincts and societal expectations. Her chemistry with McAvoy creates a charged dynamic that drives much of the tension. While Scoot McNairy’s Ben is intentionally frustrating — a pushover who often seems incapable of protecting his family — this characterization adds to the narrative’s theme of denial and complicity. Franciosi, though slightly underwritten, brings a chaotic energy to Ciara, while the children are surprisingly well-developed, adding emotional weight to the story.

Watkins’ direction elevates the material, balancing faithful recreations of iconic scenes from the original with new, impactful moments. The film’s third act diverges significantly, favoring catharsis and action over the unrelenting despair of its predecessor. While some might criticize the changes as overly “Americanized,” the narrative remains tightly paced and thematically coherent, exploring cycles of abuse and the human capacity for rationalizing danger.

Though not flawless — the film occasionally stumbles with characters making questionable decisions — the heightened tension and immersive atmosphere more than compensate. Watkins masterfully uses what’s unseen to build dread, proving that suggestion can be scarier than explicit horror.

Speak No Evil (2024) might not completely overshadow the original, but it stands as a worthy reinterpretation. Its blend of humor, suspense, and psychological horror feels fresh while paying homage to its predecessor. This isn’t just a remake; it’s a reinvention that manages to surprise, unsettle, and entertain in equal measure.