Mackenzie Davis

Speak No Evil

12/09/24

Cineworld, Edinburgh

A cut above the usual Blumhouse productions, Speak No Evil is a multi-faceted psychological thriller. Directed by James Watkins, this is an adaptation of a 2022 Danish movie of the same name (which I confess I haven’t seen). It’s also the title of my thriller novel from 1993, but I’m going to be gracious and overlook that fact. Suffice to say that if the aim of the film is to put viewers on the edge of their seats and keep them there for an hour and fifty minutes, then it succeeds in spades.

American couple, Ben (Scoot McNairy) and Louise (Mackenzie Davis), take their needy daughter, Agnes (Alix West Lefler), on holiday to Italy. Ben and Louise are currently going through a rough patch in their relationship and are looking to heal some wounds, so when they fall into company with irrepressibly confident British couple, Paddy (James McAvoy) and Ciara (Aisling Franciosi), they find themselves irresistibly pulled into their orbit. Paddy and Ciara also have a child in tow, the sullen and uncommunicative Ant (Dan Hough), who Paddy – a doctor no less – asserts is suffering from a rare condition that makes him virtually unable to speak.

The six holidaymakers get along surprisingly well. In a reversal of the usual national stereotypes, it’s the Americans who are all prim and repressed and the Brits who take delight in being loud, swaggering and generally unfettered. Then Paddy invites his new acquaintances to leave the pressures of their lives in London to enjoy a post-holiday visit to his lovely home in the West Country. Ben and Louise are at first somewhat unsure, but eventually decide to give it a go. After all, what can possibly go wrong?

Um, plenty as it turns out – but the clever thing about the screenplay (co-written by Watkins with Christian and Mads Tafdrup) is that the ensuing shenanigans at Paddy and Ciara’s suspiciously-palatial homestead are always kept just the right side of believability. This script takes its time to fully establish the American characters, so that we really care when things inevitably begin to go haywire for them. There’s a gradual evolution from edgy confrontation into the realms of full-blown horror. At first, it’s just Paddy and Ciara’s lack of propriety that’s the issue – but, as more and more boundaries are crossed, so the suspense rises to almost unbearable levels.

McAvoy’s Paddy is a wonderfully nuanced creation, by turns warm, emotive, sly and ultimately terrifying – but all the characters are nicely played and Davis in particular excels as she is increasingly compelled to compromise her beliefs. If the film’s latter stages are reminiscent of Sam Peckinpah’s Straw Dogs, well that was a very long time ago (1971 to be precise). Suffice to say that, as the narrative approaches its final furlongs, I find myself having to restrain myself from shouting advice at the screen. You know the kind of thing.

‘Don’t go back in there!’ ‘Look behind you!’ And that perennial favourite, ‘Forget about the cuddly toy!’ (You’ll need to see it to fully understand.)

One thing’s for sure. I’m never going to hear The Bangles performing Eternal Flame again without thinking of this nail-biter. Those of a nervous disposition will probably want to give this a miss, but cinematic thrill-seekers like me are going to enjoy it right down to the final frame, when they may – as I did – realise they’ve been holding their breath for a bit too long…

5 stars

Philip Caveney

Tully

(l to r.) Mackenzie Davis as Tully and Charlize Theron as Marlo star in Jason Reitman’s TULLY, a Focus Features release.

04/05/18

Diablo Cody’s latest offering is as quirky and unflinching as we’ve come to expect from the author of Juno. The eponymous Tully (Mackenzie Davis) is a night-nanny, her services gifted to a reluctant Marlo (Charlize Theron) by her rich younger brother, Craig (Mark Duplass). Mark might be crass and boastful, but he knows how exhausting it can be to look after a newborn, especially when there are already two older children on the scene. Marlo and her husband, Drew (Ron Livingston), don’t like feeling beholden to Craig, but – after a scene at their son Jonah’s prestigious kindergarten, where the staff seem neither able nor willing to deal with his additional needs – Marlo concedes defeat. Drew is busy at work, chasing a promotion that will mean a lot to them, and she simply can’t cope with all she has to do. She calls Tully. And Tully changes things.

This is a deliciously honest account of family life and parenting: of the grinding drudgery of night-feeds and school runs, as well as the fierce love and joyous moments that make it all worthwhile. The characterisation is sharp: Marlo, Drew and their children are flawed, believable people, as three-dimensional as they come. They feel real, as if you know them – or people like them, anyway. Tully herself is less familiar, but that’s fine; viewed through Marlo’s eyes, she’s an angel, a saviour, who appears in the night like the elves for the shoemaker, cleaning and baking and taking care of everything.

There are a few moments in the film where I am suddenly unsure, uncomfortable, not convinced by what I see. But I’m glad I stick with it, because everything plays out satisfactorily, and all the things that don’t quite sit right are squared away.

Theron is very good indeed; she plays tired and frazzled with complete authenticity. I like Ron Livingston too; he treads a difficult line here, making Drew at once immensely likeable and irritating. Why does he sit upstairs playing computer games while his wife is falling apart? But he’s not uncaring, nor is he lazy – he does the kids’ baths and supervises homework every night, as well as working long hours – he’s just oblivious and unaware. Still, I do have one major gripe here, which I don’t think the film answers, and it’s this: why does Drew never introduce himself to Tully? She’s in his house every night, and he’s there as well. Why doesn’t he go downstairs and meet the woman who is looking after his baby? He’s a good father, invested in his kids. This makes no sense to me at all. Still, it’s not enough to spoil what is essentially a decent movie, entertaining and informative and very well worth the ticket price.

4 stars

Susan Singfield