Speak No Evil 4K 2024 Ultra HD 2160p

A remake of the 2022 Danish thriller of the same name. Parents and their daughter accept an invitation from new acquaintances to visit their country house. The weekend gradually turns into a race for survival.

User Review

It happens in life that you like the remake more than the original. I'm surprised myself, as I didn't have high hopes for the new version of Don't Tell Anyone. Still, James McAvoy was the main driving force. I love him endlessly, no matter his age. His natural magnetism has an unconditional effect on me—I freeze and stare at the screen, afraid to miss the slightest detail, the slightest change in mood in his performance. I can't remember any mediocre performances from him. And “Don't Tell Anyone” was no exception.

His Paddy is the central character of the film, who very skillfully draws those around him into his game. Sometimes he shows kindness, sometimes a momentary exuberance of life that makes you envious, sometimes openness and directness bordering on rudeness in defending his personal space. You can trust a guy like that. And then reading poetry is replaced by trolling. And testing the sincerity of fashionable beliefs becomes a game of survival. To some extent, Don't Tell Anyone is a reminder of an important biological component of human beings: the instinct for self-preservation. But in the new version, director James Watkins has taken a slightly different approach. And I like it.

There is a big difference between the original and the remake. The original forgets about children, making adults the main characters of the film. I'll admit right away that I didn't like the ending of the original. If it all started as a satire on obedience, excessive decency, and politeness, it ended up as genocide. And this ending led to very ambiguous conclusions—the victims were also to blame for their fate, they had many chances to avoid it, but they chose the path of victims.

In the remake, Watkins moved away from the theme of politeness. Well, or rather, he presents it not in the Kafkaesque manner of the original, but in more acute manifestations, such as frankness and hypocrisy. First, the guests are not Europeans, but Americans. And this is a very important detail, I think, it was the starting point for the construction of the entire plot. The conflict between Scoot and McKenzie lies not in the realm of historical memory and instilled values, but in the realm of finance. She quits her job to support his career advancement, for which they move to London, which ultimately turns out to be a bubble.

I think many people have faced a situation in their lives where they expect more determination from a loved one. But instead of taking action, you fall with them into a vortex of limbo from which there is no escape. Only a breakup. Director Watkins tries to create something similar in the relationship between Scoot and McKenzie. He tries, but still puts an ellipsis rather than a period in their storyline. McKenzie's determination to survive by any means necessary is not contrasted with Scoot's foolishness (who once again puts on a sour face, which always looks funny), but rather reminds us of Henry James (it wouldn't be me if I didn't mention the classics), who considered American women to be more independent and freedom-loving than European women. This is where the confrontation between McKenzie and McAvoy comes from. She is stifling, but she knows how to be sarcastic and certainly won't lose her cool when she has to take action.

Secondly, the main characters in the remake of Don't Tell Anyone are not adults, but children. And I like Watkins' non-trivial approach to interpreting an already familiar story. This approach does not seem far-fetched because it is logical. Children are rebels by nature, they are just beginning to be driven into the system, so unlike the original, it is they who find the treasure room. It is they who show a greater instinct for self-preservation when they try to break the system through games.

As in any genre film, Don't Tell Anyone has its clichés, and perhaps some people found them jarring to the eye, ear, or other senses. Personally, I didn't want to notice them because I was captivated by the overall dynamism of the plot; the confrontation between McAvoy and Mackenzie (what chemistry there is between them, especially in the scene with the farewell kisses on the neck); as well as the shift in focus to the children, and in general, the exploration of the theme of childhood and the influence of parents on us. The film has an exciting beginning. It reminded me of Todd Haynes' Salvation, and Lynch's cars also move like this in the dark. In Watkins' film, the car is a camera obscura through which only one image is projected—a child's gaze in the rearview mirror. While reading McAvoy's poem, you may remember it, but the ending will bring you back to both, creating a strong chain of the main conflict of the remake Don't Tell Anyone — how, in the process of growing up, not to forget your inner child, or more precisely, the vow you made to yourself that you would never become like your parents.

Info Video

Codec: HEVC / H.265 (64.3 Mb/s)
Resolution: Native 4K (2160p)
HDR: Dolby Vision, HDR10
Aspect ratio: 2.39:1
Original aspect ratio: 2.39:1

Info Audio

#English: Dolby TrueHD with Dolby Atmos 7.1
#French: Dolby Digital Plus 7.1
#French: Dolby Digital Plus 7.1
#German: Dolby Digital Plus 7.1
#Italian: Dolby Digital Plus 7.1
#Spanish: Dolby Digital Plus 7.1
#Spanish: Dolby Digital Plus 7.1

Info Subtitles

English SDH, Arabic, Bulgarian, Chinese (Cantonese), Chinese (Traditional), Croatian, Czech, Danish, Dutch, Estonian, Finnish, French (Canadian), French (France), German, Greek, Hebrew, Hindi, Hungarian, Indonesian, Italian, Japanese, Korean, Latvian, Lithuanian, Malay, Norwegian, Polish, Portuguese (Brazil), Portuguese (Portugal), Russian, Serbian, Slovak, Slovenian, Spanish (Latin American), Spanish (Spain), Swedish, Thai, Turkish, Ukrainian, Vietnamese.