“Speak No Evil” is a remake of a 2022 Danish movie with a famously vile twist. I went into this film expecting it to have the same twist. That’s not to say that I expected it to have the same “ending,” exactly, as I knew the film might deviate from the source material once it reached a certain point. But there could be no question that it was indeed winding its way to that point. It was no surprise that what came after that point was horror movie shlock, but I was surprised by how captivated I was by what led up to that point.

The film finds protagonist couple Ben and Louise Dalton (Scoot McNairy and Mackenzie Davis, respectively) on vacation with their daughter Agnes (Alix West) in Italy. They’re about as unhappy there as they are at home in London, which is to say pretty unhappy, with Ben falling short as a provider and Louise possibly dabbling in infidelity. But things pick up when they meet fun couple Paddy (James McAvoy) and Ciara (Aisling Franciosi) and their mute son Ant (Dan Hough). The kids become fast friends, the families have a great time together, and Paddy and Ciara invite the Daltons to their house in the country.

The thing is that when everybody met, they were all on vacation, so the playing field was level in terms of accommodations and shared mood. The dynamic shifts a little when the Daltons are guests in Paddy and Ciara’s home. At first it’s just little inconveniences like the guest room sheets having stains and there not being a proper bed for Agnes. But as the days go by, the Daltons find that they like their hosts less and less. Paddy and Ciara don’t treat an immigrant neighbor very well, they’re too open about their sex lives, and they have some differing views on parenting that they’re increasingly unafraid to impose. Also, Ant keeps urgently trying to tell them something, which is frustrating because a condition with his tongue makes it impossible.

The film is at its best in this portion. Everyone has acquaintances whose sense of boundaries don’t quite mesh with their own, and the film milks that universal anxiety for all it’s worth. It might not be “horror” in the traditional sense, but I’d sure be scared to be in some of these situations where I might come off as a bad friend or ignorant or “in the wrong.”

Of course, this movie isn’t being sold on exploiting the audience’s fear of social faux pas, eventually the other shoe has to drop and proper horror elements have to present themselves. And from that point forward, this movie becomes just another exercise in flat tires, cut phone lines, and characters running up the stairs when they should be bolting out the door. Oh, and a villain or villains that have been meticulous for years suddenly getting so sloppy that you’ll wonder how they ever had any success in the first place.

“Speak No Evil” was doing so well for so long. The astute technical team recreates certain shots perfectly from the original movie and the gradual dissolution of politeness and respect is paced beautifully. Part of me was hoping that the Daltons could get away from Paddy and Ciara just so their battle of passive-aggressiveness could be picked back up at another time. But no, this just has to be a movie with a body count, and the chances for a sequel are as bleak as the original’s ending. I do give a recommendation to “Speak No Evil,” but it would be evil of me to say that you should expect a truly excellent movie.

Grade: B-

“Speak No Evil” is rated R for some strong violence, language, some sexual content and brief drug use. Its running time is 110 minutes.

Contact Bob Garver at rrg251@nyu.edu.

An extravagantly malicious theatre critic who strikes fear into the thespians of 1930s London, Jimmy Erskine (Ian McKellen) is known for many proclivities, but mostly for his savagery. So when the paper’s new owner threatens his job at the Daily Chronicle, Jimmy’s response is as vicious as that of a cornered honey badger in a cravat. A vulnerable starlet (Gemma Arterton), a lovelorn newspaperman (Mark Strong) and even Jimmy’s live-in “secretary”, Tom (Alfred Enoch), are all collateral damage in his machiavellian scheme.

This adaptation of Anthony Quinn’s 2015 novel Curtain Call, with Patrick Marber as screenwriter and Anand Tucker (Hilary and Jackie) directing, should be lurid fun. And certainly, McKellen’s characterful countenance is put to expressive use: the camera lingers not just on his eye bags, but on a whole set of face luggage, all of it packed with spite and gleeful vitriol. But despite reported reshoots and a fresh edit after the film’s coolly received premiere last year, its sour spirit and a cluttered, clumsy third act remain a problem.

I know, I know. I hear what you’re saying out there. Some of us remember 1988. A movie from 1988 has no place in a segment about retro movies. It wasn’t that long ago, right? Sometimes, though, a film comes along that transfixes you. It compels you to watch it. This, my friends, is Vibes. All one must do is look over the cast list to wonder how wildly quirky this movie must be. Is this one I’d immediately wonder how I’d missed it? Or should Vibes return to the deepest, darkest corners of the streaming jungle? Read on. 

About Vibes 

Vibes follows two psychics (Jeff Goldblum and Cyndi Lauper). Shortly after getting to know each other, they meet a local eccentric (Peter Falk) who promises them $50,000 if they travel to Peru and track down his missing son. So he claims, anyway. As the film continues, they stumble onto questions of mystic treasure, gold, and a romantic adventure that feels inherently at home in the late 1980s. This is Romancing the Stone for the self-identifying “weird kids.” Julian Sands, Googy Gress and Michael Lerner co-star in the movie. Ken Kwapis directs Vibes from a script by Lowell Ganz and Babaloo Mandel. 

To dive right in, the following must be said, “Holy casting decisions, Batman!” Truthfully, this is going to be what draws a majority of 2024 eyes to this project, and it works to a beautifully quirky effect. Goldblum, even at his still relatively young age, is already the lovable character we recognize today. He’s fully formed and delightful. Cyndi Lauper, meanwhile, is her colorful and eccentric self. If you remember the 1980s, you remember Cyndi Lauper.  

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As a film, Vibes is fully and unapologetically reliant on character and personality. Lauper and Goldblum jump into the lead roles with uninhibited zeal and lean into their immediately familiar personas. Truthfully, this rockets Vibes to a new cinematic plain. This film, as it currently exists, is only possible with Goldblum and Lauper in the lead roles. This is a different and less memorable movie with different actors playing these parts.

Vibes is at its wacky, zany best in Act 2 when Golblum, Lauper, and Peter Falk have the time and the freedom to bounce off each other. Always a brilliant character actor, Peter Falk is having a blast in this role. He’s unafraid to lean into this role and finds an easy verbal slapstick only he could pull off so effortlessly. 

As the film shifts into Act 3, it steps away from its easy sense of humor, and things get a little more traditional. While the leads try their darndest, it slips back into familiar and generic action/rom-com territory. This is particularly frustrating because Julian Sands is the performer who ends up largely wasted. While a film like this probably needs a “straight” man, in a movie with this much personality, his scenes sag significantly. 

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Ultimately, this is a film that, to some, will always feel at least a little dated. Vibes has a big, brash 1980s sensibility. This comes across in everything from the set design to the hair and especially the wardrobe. Cyndi Lauper is in this film, after all. Add in Jeff Goldblum in his Earth Girls Are Easy era and the fluorescent neon circle is complete. Do with that what you will. 

Now, as part of full film critic disclosure, Vibes does not make a great showing on Rotten Tomatoes. In fact, its 13 percent is more than a little daunting. While the movie earns tremendous goodwill for its unabashed personality, anyone coming to this for the action narrative will be left wanting.

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The script, in particular, struggles with the treasure story. This is particularly noticeable deep in Act 2 as the final twist materializes seemingly out of nowhere. In truth, this plotline (and the characters stuck within it) feels like an afterthought. This becomes doubly frustrating as the film broadens its scope away from its adorable quirkiness. The narrative groundwork, unfortunately, hasn’t been laid to sustain a more traditional plot. 

When all is said and done, Vibes is a fun and pleasant surprise. This wacky little film came out of nowhere and ended up being an absolute pleasure to watch, thanks to this purely enjoyable cast. This film largely knows where its strength lies, and it isn’t afraid to let its characters steal the show. With a script that doesn’t pull its own weight, they are a welcomed distraction. Goldblum, Lauper and Falk are unapologetically themselves, and we wouldn’t have it any other way. 

Vibes is now streaming on Tubi. 

Everything Coming to Netflix in September 2024

A film nerd from my earliest years watching Abbott and Costello, that eventually translated to a Master’s Degree in Film History. I spend my time working on my fiction projects in all their forms, as well as covering film and television.

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