There tends to be wariness around an American remake of an international film: a worry that the American version will squander the qualities of the original; that the filmmakers and studio might take something singular and turn it into a bigger, shinier blockbuster. That is the case with writer-director James Watkins’ “Speak No Evil” — a remake of a 2022 Danish horror film of the same name by Christian Tafdrup — and yet it works.

“Speak No Evil” is a horror film of “manners,” so to speak. A couple with a young daughter meet another couple with a son on vacation in Italy and become friendly. The couple with the son invite the other family to stay at their home for a weekend, where the environment becomes increasingly awkward and even dangerous. Where does self- preservation prevail over politeness? When does survival supersede social grace?

The original Danish film is suffused with existential bleakness and crushing dread. But there are moments where the characters might escape their horrible fate, where you shout at them to keep going, don’t turn around now. We come to find out that this terrible scenario has happened repeatedly, so one can imagine the different ways this might play out with different people, which is exactly Watkins’ take on the remake: With a new set of players, how does this unfold?

In Watkins’ iteration, an American expat family who has just moved to London replace the Danish family; a working-class English trio take the place of the Dutch vacation friends who invite them for a visit to their farm in the West Country. The Americans have a sensitive daughter named Agnes (Alix West Lefler), and the English have a withdrawn boy, Ant (Dan Hough), with whom they hope will be friends.

American husband Ben (Scoot McNairy) has his own issues that lead him to seek out a friendship with Paddy (James McAvoy), a funny, brutish chap married to the easygoing Ciara (Aisling Franciosi). Ben, who has recently lost the job that brought them abroad, and whose marriage with strident Louise (Mackenzie Davis) is strained, is aimless and emasculated. Paddy is a confident back-to-the-land type, and he seems to hold the secret to masculine reinvigoration; the promise of his friendship is as intriguing to Ben as it is off-putting to Louise.

Louise assents to her husband’s desires out of a desire to please. She will squash her inner alarm bells that go off every time Paddy offers her a slice of meat (she’s vegetarian), drives erratically, disciplines Ant harshly and makes her uncomfortable. Her sense of empathy for Ciara and Ant overrides her impulse to flee until she can no longer ignore her instincts and her assertive American mama bear comes charging forth.

Yes, Watkins’ remake is the bigger, shinier version of the Scandinavian film, boasting sweeping aerial photography and pyrotechnics. It more overtly explores themes of abuse cycles, white male entitlement and complex marriage dynamics.

Perhaps for some, this version will be an affront to the devastating, almost meaningless terror of the original. But in the remake, it is fascinating to see how Watkins teases out new themes, cultural nuances and endings with a whole new set of characters placed in this premise. Despite the differences, it is still a thrill to watch it play out in its own way.

MPA rating: R (for some strong violence, language, some sexual content and brief drug use)

Running time: 1:50

How to watch: In theaters Sept. 13