'Speak No Evil'

★★★ Cast: James McAvoy, Mackenzie Davis, Scoot McNairy, Aisling Franciosi, Alix West Lefler, Dan Hough, Kris Hitchen and Motaz Malhees. Directed by James Watkins; produced by Jason Blum; screenplay by Christian and Mads Tafdrup. A Universal Pictures release. 110 minutes. Rated R (strong violence, language, sexual content and brief drug use). At the AMC Champaign 13 and Savoy 16 IMAX.

While I'm often weary of American remakes of foreign films, on rare occasion, this approach produces a worthy feature that can stand on its own.

Such is the case with James Watkins' "Speak No Evil," a redux that borrows its premise from Dutch filmmakers Christian and Mads Tafdrup's 2022 horror feature. Because that ended on such a disturbing, nihilistic note, I don't object to a more conventional approach this time out. And while Watkins' version may not be as daring as the original, it's satisfying in its own way, while a scene-rending performance from James McAvoy helps compensate for any of the film's shortcomings.

American expats Ben and Louise Dalton (Scoot McNairy and Mackenzie Davis) haven't had much luck since moving to London. Not only has he lost his job, but they've also had little success making friends. However, a quick trip to the Italian region of Tuscany with their daughter, Agnes (Alix West Lefler), fixes that with dire results. They are befriended by fellow vacationers Paddy and Ciara (McAvoy and Aisling Franciosi), who are there with their son, Ant (Dan Hough), and the Daltons are so grateful for the attention, they ignore their overbearing manner.

Thinking of them as just passing acquaintances, Ben and Louise are pleasantly surprised when they receive an invitation to spend the weekend with Paddy and Ciara on their farm in rural England. They accept and head out for what they imagine will be a relaxing weekend. Upon their arrival, it quickly becomes apparent they may have made a mistake. The house is cramped and rundown, while Paddy subtly begins to dig at his guests, needling Louise about her vegetarianism and Ben over his manhood. These microaggressions bloom into more obvious threats, and while the Daltons attempt to leave, their efforts are stymied at every turn.

The second act proves the most effective section as Watkins properly stretches out the mystery regarding just what's going on at the isolated farm. It's evident something's amiss, yet just what's at play percolates beneath the surface, Ant ultimately becoming the key in exposing his parents' dark secrets.

Watkins and his cast create a sense of tension that steadily and convincingly grows, a pit likely to form in the viewer's stomach as Paddy and Ciara's intentions become clear. The former's machismo becomes more and more overbearing, his actions towards Louise not only invasive but also a challenge to Ben, who fails to assert himself in key situations. While these moments are uncomfortable, they're not without their humor as Watkins includes more than a bit of dark humor.

Perhaps the most significant change in the script is the examination of the Daltons' marriage. As Ben's sense of emasculation grows, Louise is forced to take it upon herself to defend her family, a role you sense she's been champing at the bit to assume. Davis is very good; you get the sense her rage has been roiling about inside for some time and she's been looking for the opportunity to cut loose. The actress is relishing the chance as well.

However, she is no match for McAvoy, but then again, few performers are, especially when he's afforded the opportunity to go over the top, as he is here. The actor's intensity is well-suited not just for the broadly played scenes but those requiring a deft touch as well. A bully at heart, Paddy has mastered the art of intimidation in all its forms. From seemingly innocent passive-aggressive insults to all-out assaults, McAvoy's overbearing presence is genuinely frightening. He takes a feral approach that becomes increasingly manic, until it becomes obvious that Paddy simply needs to be put down.

And while the ending may seem a bit pat, the clash between Paddy and Louise is a memorable one, so much so that it overshadows the script's predictability. Moody and relatable, "Speak No Evil" proves an effective exercise in tension, one that will speak to anyone who's found themselves trapped in a conversation with someone who never gets tired of the sound of their own voice or spouting their polemic opinions.