BJ (Anderson .Paak) is an LA-based karaoke bar drummer, passionate about making it big with his original music. On a particular evening in 2009, he encounters Yeji (Jee Young Han), a punk emo girl who struggles to find a committed man in the city. They fall in love after a duet and dinner date at a Korean restaurant. They break up after a while because of his lack of involvement with her. 12 years later, the very confident BJ is still working at the same place with no prospects. His boss Cash (Jonathan “Dumbfoundead” Park) connects him to a new gig in South Korea as his great aunt’s drummer for the show she hosts, an American Idol-like competition for the next teen K-Pop star. 

Cash tries to get BJ to meet Kang (Kevin Woo), the show’s heartthrob, and see if they can work together. While on the job, he’s rebuffed by Kang and winds up meeting one of the lowest projected contestants, Tae Young (Soul Rasheed, .Paak’s IRL son). When he sees Yeji for the first time in 12 years, he realizes that Tae Young is his biological son. In the wake of this discovery, BJ takes it upon himself to take Tae Young under his wing and teach him with his know-how about music outside K-Pop, putting the “Bla” in “Blasian”. With his skill, BJ makes every effort to turn Tae Young into a superstar.

“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.

Hidden deep within a house that’s practically swallowed by greenery, an ex-army man lives with his son and daughter-in-law. His strictness hits hard, and there’s a sharp edge to the way he treats his son, yet the man seems to take it in stride. It makes you wonder—what’s the deal? Is there more simmering beneath the surface? To get those answers, you’ll have to check out the Onam release, ‘Kishkindha Kaandam’, starring Asif Ali, Aparna Balamurali, and Vijayaraghavan, under the direction of Dinjith Ayyathan.

Dinjith takes his sweet time, carefully planting clues that the abundant greenery and other small elements are more than just a pretty backdrop. As the story unfolds, your mind will race, crafting theory after theory about these characters, right up until the very end.

Vijayaraghavan and Asif Ali are undoubtedly the pillars holding this movie together. But the real ace up its sleeve is the story. Sure, it’s not entirely airtight, but there’s enough going on to keep you hooked right till the final frame.

Right from the start, it’s clear that something is off in the lives of Ajayan (Asif Ali) and Appu Pillai (Vijayaraghavan). Suspicion lingers throughout, as you’re left doubting the motives of each character. Vijayaraghavan shines in his portrayal of a 70-year-old man who is curt and fiercely independent. He navigates the role with remarkable finesse.

His performance in the movie is deeply nuanced, featuring a range of simple yet meaningful expressions. While the film is primarily a psychological thriller, it also explores various diseases and their effects on both patients and caregivers. Dinjith’s approach to depicting illness is particularly interesting, offering a balanced perspective that captures both the emotional experience of the person suffering and the impact on those who care for them.

Asif Ali delivers a grounded performance as Ajayan, striking a perfect balance in his acting, neither overdoing it nor holding back. Aparna Balamurali is equally impressive, with the story unfolding through her eyes, giving the audience a front-row seat to the unravelling events. Other actors like Ashokan, Jagadish, and Nishan (who is making a comeback in Malayalam films) also deliver impressive performances. The background score by Mujeeb Majeed is another standout aspect of the film, creating a haunting atmosphere that complements the movie’s overall theme beautifully.

The cinematography also enhances the film, using the beautiful yet eerie scenery of the house and its surroundings to evoke a sense of unease and claustrophobia. The visuals create an atmosphere where something feels subtly amiss.

Malayalam cinema is no stranger to psychological thrillers, but ‘Kishkindha Kaandam’ distinguishes itself by addressing multiple issues while seamlessly integrating a human element. The film creates a strong connection with its main characters, making them feel like people you’ve encountered or heard about throughout your life. As a result, you find yourself empathising with everyone involved, rather than taking sides.
This is definitely a must-watch film that will appeal to audiences of all ages, as it offers something for everyone.