Movie Reviews
Movie Review – Speak No Evil
“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.
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Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC
Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.
As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.
During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.
Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.
“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.
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As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.
While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.
The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.
Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.
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“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.
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‘I Swear’ Review – Heart Sans Sap, Cursing Aplenty
The sixth outing in the director’s chair for filmmaker Kirk Jones, I Swear dramatizes the real-life story of touretter John Davidson (played by Robert Aramayo). Tourette’s Syndrome, for those unfamiliar with the condition, is a nervous system disorder that causes various tics, the most prolific being erratic and explicit language. However, as I Swear expertly showcases, the syndrome is far more than ill-timed outbursts of curse words. Davidson’s story is one of societal frustration, finding your people (both with and without the condition), and using your voice to help others rise. The subject and subject matter are handled with absolute care and understanding under Kirk’s measured vision and Robert Aramayo’s BAFTA-winning performance.
The film kicks off with the greatest exclamation to democracy ever uttered (*%#! the Queen!), as a nervous John Davidson prepares himself before entering an awards ceremony hosted by Britain’s royal family. Right away, the film tells us what it is: a triumph over adversity that blends humor and human drama with education. It’s an important setup, as the film flashes back to Davidson’s 1980s youth, where we see his time as a star soccer recruit flatline as his condition takes hold. Davidson’s life spirals from there. Some aspects, like school bullying and accidental run-ins with authority figures, are expected but important to empathizing with young Davidson’s (young version, played with heart by Scott Ellis Watson) new everyday life. The more tragic, a complete meltdown of his family system, is unsettling if quick. His father (Steven Cree) is never given enough screen time to explore his alcohol coping tendencies. However, his mother Heather’s descent into easy fixes and blaming is crushing and convincing. Harry Potter series actress Shirley Henderson (Moaning Myrtle) gives a layered performance as Heather. Someone who loves her son, but also feels cursed by him as the entire family exits the picture. It’s bitter, she’s tired, and fills each conversation with ‘only medication and your mother can save you’ energy.
From there, the viewer and Davidson find refuge in a host of characters. Maxine Peake plays Dottie, the mother of a childhood friend and a retired mental health nurse. Screen vet Peter Mullan plays maintenance man Tommy Trotter. Together, they help Davidson build a life and an understanding of himself that carries the film forward into its second half. After that, the film is primarily a 3-actor show as director Kirk fills the screen with these tour-de-force performances. Peake and Mullan are great vessels to get the film’s main message across: patience, love, and a shared responsibility between the diagnosed and those who understand their struggle can help change the path for people quickly left behind by a normative world. Together, they are the soul of the movie, with the filmmakers clearly hoping the audience will follow their lead after they exit the theater (in my case, the beautiful Oriental Theater for the Milwaukee Film Festival). Both performances are perfectly warm and reflective and shouldn’t be left out in discussions of I Swear.
I say this because the movie is anchored by The Rings of Power actor Robert Aramayo, who leaves Elrond’s elf ears behind to bring an acute naturalism to his performance of main character John Davidson. Aramayo’s physicality and timing of the fitful Tourettes Syndrome never feel out of place or overplayed. In fact, the movie as a whole does an amazing job of never veering into sentimentality. While many moviegoers left with tissues dabbing their eyes, the filmmaking never felt like it was forcing that reaction out of audiences. It straddles the line between feel-good and reality with every story beat and lands squarely on the side of letting the real inform our feelings. Anyone with an ounce of empathy will grasp the film’s message and hopefully take it with them into life.
I Swear continues at the Milwaukee Film Festival on Tuesday, April 21st, and releases nationwide April 24th, 2026, courtesy of Sony Pictures Classics.
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