Screening Room: Speak No Evil, The Killer’s Game, The 4:30 Movie & More
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Quiet, Please
Speak No Evil
by Hope Madden
Speak No Evil is in a tough spot. Essentially, you’re either a moviegoer who will breathe easier this weekend knowing you’ll never again have to sit through the excruciating trailer, you’re a potentially interested horror fan, or you’re a horror fanatic wary that director James Watkins will pull punches landed by Christian Tafdrup’s almost unwatchably grim but genuinely terrifying 2022 original.
Well, Watkins does not pull those punches, but they do land differently.
Louise and Ben Dalton (Mackenzie Davis and Scoot McNairy) are vacationing blandly in Italy with their 11-year-old, Agnes (Alix West Lefler) when a louder, more alive family catches Ben’s attention.
Paddy (James McAvoy) and Ciara (Aisling Franciosi) and their quiet lad Ant (Dan Hough) seem to be living life large, and Ben can’t help but envy that. So, after the Daltons are tucked blandly back into their London flat and he receives a postcard from their vacation pals inviting them out to the countryside, how can he say no?
We all know he should have said no, but that’s not how horror movies happen.
What follows is a horror of manners, and very few genres are more agonizing than that. Little by little by little, alone and very far from civilization, the Daltons’ polite respectability is jostled and clawed and eventually, of course, gutted.
Those familiar with Watkins’s work, especially his remarkable and remarkably unpleasant Eden Lake, needn’t worry that he’ll let you off the hook. This is not the sanitized English language version fans of the original feared.
Indeed, Watkins and a game cast highlighted by a feral McAvoy stick to Tafdrup’s script for better than half of the film. Watkins, who adapted the original script, complicates relationships and gives the visiting Dalton parents more backbone, but he doesn’t neuter the grim story being told. Instead, he ratches up tension, provides a more coherent backstory, and pulls out the big guns in Act 3.
If you’ve seen the original, I don’t think you’ll be disappointed by the direction the remake takes. Though it can feel like a correction aimed at pleasing a wider audience, it also makes for a more satisfying film.
Fanciosi is carving out a career of wonderfully nuanced genre performances (Nightingale, Stopmotion). We learned in 2017 with Split that McAvoy can do anything. Anything at all. He proves that here with a ferocious turn, evoking vulnerability and contempt sometimes in the same moment. It’s a compelling beast he creates, and no wonder weary travelers fall under his spell.
Watkins doesn’t make enough movies. For his latest he’s chosen a project with the narrowest chance of success. But here’s hoping he finds it.
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Your Friends and Neighbors
Speak No Evil
by Hope Madden
There’s little as uncomfortable as a good horror of manners—like a comedy of manners, but the social discomfort makes way for grim, horrifying death. Michael Haneke did it best with Funny Games (either version). Just last month, Shudder released the lighter but no less bloody Who Invited Them.
Denmark comes knocking with co-writer/director Christian Tafdrup’s Speak No Evil, a terribly polite tale of Danes and Dutchmen that veers slowly but relentlessly toward something sinister.
Bjørn (Morten Burian) is facing a crisis of masculinity. He’s too polite to articulate it, which only exacerbates that strangling sensation.
It’s a testament to Burian’s performance that he remains sympathetic throughout the film, however selfish and weak his actions. Playing his wife, Sidsel Siem Koch easily embodies the proper but awkward and easily cowed Louise.
Their adversaries? The good-looking, fun-loving, demonstrative Dutch couple Patrick (Fedja van Huêt) and Karin (Karina Smulders). The two families — each with a youngster in tow — run into each other on holiday and become pals. Sometime later, when Bjørn & Louise receive a postcard inviting their family to visit, Bjørn is anxious to go.
It takes some quiet, polite maneuvering, but before long, he, Louise and little Agnes (Liva Forsberg) are face to face with their hosts and the escalating tension grows almost unendurable. Speak No Evil quickly becomes a sociological experiment that questions our tendency to act against our own instincts, side with the cool kids, and lose who we are.
Van Huêt ably maneuvers Patrick’s manipulations, his about-faces, and his indefatigable charisma.
Sune Kølster’s score works deliriously against cinematographer Erik Molberg Hansen’s beautiful images to create dissonance (again, in much the same way Haneke did, but if you’re going to copy someone, he’s as good a place to start as any).
Tafdrup’s script, co-written with Mads Tafdrup, is sneaky in the way it treads on social anxiety, etiquette, politeness. You see how easily gaslighting alters the trajectory of a conversation, the course of action.
There is a resignation that feels unearned, even contemptuous. But actions throughout are believable enough, each couple’s interactions authentic enough, and the tensions palpable enough to forgive slight lapses. Speak No Evil is a grim trip, but there is no question that it’s well made.
