Remakes have been a part of cinema since its earliest days. In fact, George Méliès remade a film titled Playing Cards in the same year it was originally released—1896! However, it seems that since the dawn of the 21st century, remakes have become a central feature of the industry, particularly within the horror genre. Almost any notable film from the 1970s or 1980s has likely seen a remake. More recently, there has been a shift towards rebooting entire franchises—think Scream, Halloween, The Exorcist—but with varying degrees of success.

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Then, of course, there's the trend of remaking successful foreign films, often driven by the reluctance of some audiences to engage with subtitles. The late 1990s J-Horror boom sparked a wave of remakes of Asian genre films. Unfortunately, many of these adaptations fell short—except for Gore Verbinski’s The Ring perhaps —and the trend of lacklustre remakes has persisted (Martyrs in 2015, Goodnight Mommy in 2022, among others). Sometimes, cultural differences make it difficult for a film to translate, or a rushed production with the wrong creative team can lead to underwhelming results.

So, when news broke of a Blumhouse reimagining of 2022’s Danish horror standout Speak No Evil, there was a palpable lack of enthusiasm. Why remake such a strong original film, and so soon? Why not encourage audiences to experience the original instead? Still, it's important to approach these things with an open mind. So, my partner and I sat down to watch the remake, with a seemingly friendly European couple who had invited us over for the evening. They seem nice but…I dunno, there’s something a little ‘off’ about them…

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Ben (Scoot McNairy) and Louise (Mackenzie Davis), an American couple, are on holiday in Tuscany with their daughter Agnes (Alix West Lefler), seeking to unwind after a stressful relocation to London. They spend their days soaking up the sun and enjoying candlelit dinners. As their stay draws to a close, they befriend an English couple, Paddy (James McAvoy) and Ciara (Aisling Franciosi), who are also traveling with their son, Ant, who is unable to speak. Paddy and Ciara are a bit more extroverted and carefree compared to their American counterparts, but the two couples bond well.

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A few days after Ben and Louise return to London, they receive an invitation from Paddy and Ciara to spend a weekend at their rural Devon home. While it seems a bit unusual—they've only known the couple for a few days—the two decide to take a chance and accept the generous offer. Upon arrival, they are warmly welcomed by their hosts, and the families settle in for long countryside walks and intimate dinners. But there are other things in store that neither Ben nor Louise could have anticipated...

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James Watkins’ Speak No Evil had every chance of falling flat on its face, particularly given the lack of widespread demand for a reimagining of Christian Tafdrup’s bleak yet brilliant original. Especially amongst the horror community. While this Blumhouse adaptation is imperfect and remains inferior to its predecessor, Watkins implements enough alterations to provide a slightly distinct experience. The British director wisely avoids a scene-for-scene remake, possibly recognising that such an approach would have been a huge misstep. The most successful remakes retain the essence of the original while offering a fresh perspective, and in this regard, Speak No Evil succeeds to some degree. Viewers who were not entirely captivated by Tafdrup’s version may find more appeal here. Without giving too much away about the way this plays out, this version leans slightly less into nihilism and introduces a touch more levity. It's more accessible to general audiences while still retaining sufficient brutality and tension, ensuring it doesn’t devolve into a completely sanitized American remake. The film also incorporates more humour, although not all the comedic elements land effectively. Watkins’ subtle adjustments to key plot points remain true to the original while carving out a path of their own. In the first two acts, these changes offer pleasant surprises for those familiar with the original, but it is in the third act that the film truly distinguishes itself. With a nod to 1970s thrillers like Straw Dogs, the violence escalates, and we find ourselves in new territory. While the ending may be polarising, the choice to diverge from the original is a commendable one.

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The performances from the core cast are as strong as you’d expect. Scoot McNairy is perfectly cast as the beleaguered father undergoing a mid-life crisis, while Mackenzie Davis delivers a solid performance as his accommodating yet assertive wife, particularly in the frenetic final act. Aisling Franciosi offers an understated yet captivating portrayal as perhaps the most enigmatic character of the group. However, it’s James McAvoy who garners the most attention - and that’s not just because he looks good with his shirt off. In contrast to his Dutch counterpart in the original, who exuded a quiet, foreboding confidence, McAvoy embraces a larger-than-life, alpha-male interpretation of the role. This bold performance, while not as nuanced or ambiguous as Fedja van Huêt’s, injects an intense and brash energy into the film. His portrayal might not resonate with everyone, but it’s undeniably a deliberate choice, one that could largely shape your overall enjoyment of the film.