When it comes to popular culture, doing remakes of hit films are par for the course. The attempts to do a new version of a classic movie are all but assured in Hollywood. Sometimes, these remakes can turn out quite well financially and critically, such as Carrie (2013) and IT (2017 and 2019). However, there are some attempts- like Psycho (1998), The Haunting (1999), and Pet Cemetery (2019)- that do not come off as successful. One mistake of misguided remakes is trying to copy the original film scene by scene, and this can be shown in Gus Van Sant’s remake of Alfred Hitchcock’s Psycho. Another issue plaguing modern remakes is deviating severely from the source material, which risks missing the point of the story.

Speak No Evil is the latest remake to come to cinemas. It is based on the 2022 Danish horror thriller of the same name. Directed by James Watkins, the movie is the latest psychological horror offering from producer Jason Blum and Universal Pictures. Yet the question remains: can a remake be a good film in its own right?

Ben (Scoot McNairy) and Louise Dalton (Mackenzie Davis) are a couple vacationing in Italy with their daughter, Agnes (Alix West Lefler). During this time, they become acquainted with fellow travellers Paddy (James McAvoy) and Ciara (Aisling Franciosi), who have a young son, Ant (Dan Hogh). It becomes apparent that there are long-standing problems in the Daltons’ marriage. Ben and Louise are struggling to communicate with each other, because the former moved the family from America to London for the sake of his career. After losing his job, Ben struggled with being unemployed for a while, and Louise had an affair during this time. Despite being twelve, Agnes struggles from severe anxiety and relies on her stuffed toy rabbit Hoppy as a comfort item.

By contrast, Paddy and Ciara seem like a laid-back, friendly British family. Paddy is gracious and accommodating- albeit in an overtly-solicitous way. Ciara seems friendly, but rather too friendly and submissive to her husband. As for their son, Ant is unable to speak due to being born with a smaller tongue. When Agnes loses her rabbit, the family is relieved when Paddy and Ciara show up to return the toy to them. Grateful for the assistance, the Daltons offer to keep in touch with their new friends.

Upon returning to London, Ben and Louise get an invitation from Paddy and Ciara to visit them in Devon for the weekend. It is at a remote farm located in the rural countryside of Devon, England. While the Daltons initially enjoy the solitude of the farm, the novelty wears off quickly for Ben and Louise due to their hosts’ behaviour. Paddy starts making Louise uncomfortable by passive-aggressively forcing her to eat meat, even though she’s a vegetarian.

Over the course of the visit, Ben and Louise realize there is something off about their hosts. Paddy is given to fits of temper, and his rage erupts at the children over trivial things. He also acts odd by giving conflicting stories and anecdotes, such as initially claiming to be a doctor and later saying that he isn’t a physician before revealing he actually is one. Ciara has an unnatural sense of friendliness that comes off as pushy and forced. Meanwhile, Ant seems with drawn and sullen. It is clear he is trying to convey something of great importance to Agnes but, without being able to speak, he can’t make himself understood. Ant shows Agnes a collection of personal effects such as watches and photograph books, and he attempts to write a message to her in Danish that she can’t read.

The last straw comes when Louise finds Agnes in bed with Paddy and Ciara, which crosses certain boundary lines. Frightened by this inappropriate behaviour, she convinces Ben that they have to leave immediately. Although the Daltons attempt to leave, Agnes once again leaves behind her toy rabbit, prompting them to go back. Ben is put in the awkward position of having to apologize to their hosts for the premature departure. Consequently, Paddy tries to shift blame onto the Daltons for being judgmental. While Ben and Louise attempt to tread carefully around Paddy, Ant reveals a horrifying secret about his parents and their motives to Agnes. It becomes apparent to her that their hosts are not who they appear to be, which leaves her horrified. Now, she and her parents have to find a way to escape.

McNairy delivers a nuanced yet driven performance as Ben. He is both likeable and complex in finding it difficult to communicate with his wife. Davis is quite realistic as Louise in struggling but failing to articulate her feelings. Indeed, the two come off as a realistic, believable couple trying to save their marriage. The couple’s third-act confession of how they haven’t been completely honest with each other is a compelling look at how marriages struggle.

McAvoy continues to prove his charisma and intensity as an actor. Having shot to fame with The Lion, The Witch, and the Wardrobe and Atonement in the 2000s, he solidified his leading man status as Charles Xavier in the X-Men prequel films and in Kevin Crumb in Split. As Paddy, he shows an affable image of friendliness and a growing edge. McAvoy can be both charming and unpredictable in his role, and it is terrifying to watch him turn on a dime. Franciosi is quite friendly and welcoming as Ciara. Yet it is her continued sense of helpfulness and forced positivity that makes one realize something is not quite right with her.

Lefler’s performance as Agnes is sympathetic and heartfelt. As one of the youngest cast members, she finds herself caught between two sets of parents in conflict. Her fear and unease are both realistic and moving. The character’s use of a comfort toy to cope with anxiety makes her relatable and sympathetic to viewers. Ultimately, Lefler’s role is that of a child placed in an unknown situation and trying to find a way out.

Perhaps the most compelling performance is that of Dan Hough’s Ant. The young actor has a difficult job in having to convey emotions like desperation and fear without dialogue. His use of facial expressions and body language is quite effective in showing what Ant is thinking. The second act reveal of his family and what really happened to him is a horrifying one to watch. Such a task is no easy feat, and Hough manages to give an endearing turn.

Watkins’ film does bring Jordan Peele’s Get Out (2017) to mind, especially with the tense cat-and-mouse relationship of guests and hosts. While Ben and Louise want to leave, they have to find a way to make their getaway without being detected. It is especially hard, given the remoteness of the idyllic farmhouse and being surrounded by miles of forest. As a result, there is a feeling of claustrophobia and impending tension.

Overall, Speak No Evil is an excellent horror-thriller and a good example of a solid film remake done well. McAvoy, McNairy, Davis, and Franciosi deliver compelling performances. Special praise must be given to young Lefler and Hough. Watkins succeeds in making the movie stand on its own and giving a fresh spin on the original Danish thriller. Four out of four stars.