On reflection: James McAvoy delivers the creeps in ‘Speak No Evil’.

SPEAK NO EVIL ***1/2 (110 minutes) MA
Yikes – what a terrific, tense, psychological nail-biter is served up here as a holidaying couple stupidly accepts an invitation for a week-long stayover at a remote homestead from two lovely people they barely know.

Scoot McNairy and Mackenzie Davis play the couple who are taken in by the rough charm of another vacationing pair, played by Aisling Franciosi and James McAvoy.

Now, anyone with any judgement would instantly run a mile away from any gesture of friendship offered by James McAvoy, especially after his menacing presence in Split and Glass (both by M Night Shyamalan).

Unfortunately, these dolts don’t know any better and, with hard economic times apparently robbing them of their common sense, off they go, with their daughter in tow.

After some congenial building of the friendship they started, odd things begin happening that suggest an early exit in the family car might be a good idea. Alas, escaping such warmth and cordiality is not as easy as it seems.

A remake of the 2022 Danish film, director James Watkins (Eden Lake) masterfully sets a slow-burn in motion, building tension incrementally until things begin resembling the shape of a certain table fruit.

McAvoy plays on the creepoid credentials he built with Shyamalan, delivering a nicely off-balance performance alongside his dearly beloved (Aisling Franciosi), who is equally offside. Top work, too, from child actors Alix West Lefler and Dan Hough.

A great date film.

HAROLD AND THE PURPLE CRAYON **1/2 (90 minutes) PG
You can feel the strain in almost every frame of this expensive, try-hard fantasy jaunt that attempts to bring the classic 1955 Crockett Johnson children’s book to life by pushing it into the real world.

Alas, it is a noble misfire – though it certainly does have its moments.

The chief conceit is that the child from the iconic book has grown up and, pining to see the real world, draws a door and walks through it. Following him immediately is his friend moose (Lil Rel Howery) and, a little later, porcupine (Tanya Reynolds). Both miraculously turn into people once they pass through the door.

The film stars Zachary Levi (Shazam) as grown-up Harold, and the man-child performance he puts in doesn’t quite come off.

To be picky, it also doesn’t quite make sense given Harold is a grown up before entering the real world, so why is he acting like a three-year old? (That is being picky.)

With Moose, Harold meets Terri (Zooey Deschanel), a struggling mum who is being clumsily courted by Gary (Jemaine Clement), a failed author who also works as a librarian.

Harold’s quest is to find his creator so he can return to his fantasy world – though, again, it’s never explained why Harold doesn’t just use his magic crayon to draw another door to get back. (Is this being too picky? Probably.)

Gun animation director Carlos Saldanha (Rio; Ice Age; Robots; Ferdinand), helming a live-action feature for the first time, injects some good comedy turns along with some cool fantasy elements as Harold’s drawings come to life.

Still, the film strives but fails to capture the magic of Harold’s crayon.

Why, for instance, did they opt to turn Harold into an adult – or, indeed, into a live-action character at all? Having child cartoon Harold in the real world surely would have breathed with the charm the film is constantly reaching for.

At 90 minutes – 84 sans credits – it’s a passable jaunt for kids, but ultimately lacks the imagination that made the book so famous and universally beloved.

KID SNOW ** (129 minutes) MA
Set in the tent boxing scene of the 1970s this overlong romantic drama follows the fortunes of Kid (Billy Howle), a fallen fighter looking for redemption, who strikes up a rickety relationship with Sunny (Phoebe Tonkin), a desperate car-borne single mum with son in tow and bills to pay.

Filmed with a love of period detail in dust-blown West Australia, performances are strong, but veteran director Paul Goldman struggles to move matters along, making the characters hard to engage with.

Anyone expecting a period sports film should know there’s not all that much boxing involved, and what there is lacks the punch we’ve become accustomed to.