Perhaps later this year the New Beverly Cinema will program a superficially linked double bill — Phillip Noyce‘s The Desperate Hour and William Wyler‘s The Desperate Hours.
Five months ago Noyce’s film played at the Toronto Film Festival as Lakewood. Now it’s got a catchier title. Here’s my 9.21 review with the title switched out:
An adult all alone and on a phone, having to talk his or her way out of (or through) a tough, high-pressure situation. I don’t know how many times this set-up has been built into a compelling feature, but I’m thinking at least four**.
The very best is Steven Knight‘s Locke (’14), an 85-minute character study about a construction foreman (Tom Hardy) grappling with issues of personal vs. professional responsibility. Three years ago Gustav Möller‘s The Guilty, a gripping, Danish-made crime thriller that I just re-watched yesterday, delivered similar cards. Last weekend a same-titled remake, directed by Antoine Fuqua and starring Jake Gyllenhaal, played at the Toronto Film Festival, and will debut theatrically on 9.24 before hitting Netflix.
Now there’s Phillip Noyce‘s The Desperate Hour, which stars Naomi Watts as Amy, a widowed, small-town mom reacting not only to news of a Parkland-esque high school shooting, but to the possibility that her sullen and estranged son Noah (Colton Gobbo) may be involved in some way.
Nearly two-thirds of this 84-minute film (47 minutes) are focused solely on Amy and her iPhone in a remote wooded area. We’re talking about a torrent of smooth steadicam footage plus several overhead drone shots and some elegant editing (kudos to Lee Haugen), plus Watts stressing, emoting and hyperventilating her head off — a one-woman tour de force.
Right away I was thinking Noah might be the shooter, and that, you bet, made me sit up and focus all the more. And that’s all I’m going to say.
My second reaction was about Amy’s iPhone, and what an amazing reach it has. She’s in a woodsy area a few miles from town (I didn’t catch how many reception bars were showing) and yet she experiences only a couple of signal drop-outs, and she’s watching all kinds of video and whatnot without a hitch.
I was also impressed by her iPhone’s battery — what power! (I never leave home without a back-up battery for my iPhone 12 Max Pro — I have too many active apps and the battery is always draining hand over fist.)
Despite all that’s going on at the high school and having to juggle all kinds of incoming info, Amy continues to jog during most of her phone marathon.
If there’s one thing that viewers will be dead certain of, it’s that Watts will stumble and suffer an ankle injury. I was telepathically begging her not to. HE to Watts: “C’mon, stop…don’t…there are all kinds of obstacles on your forest path and you obviously need to focus so just start speed-walking”…down she goes!
The pace of The Desperate Hour is very fast and cranked up, and Amy is nothing if not resourceful. She manages to persuade an auto mechanic whom she doesn’t know to supply crucial information about Noah’s whereabouts, as well as info about a possible shooter’s name and contact info. All kinds of conversations and complications ensue, and you’re always aware that Chris Sparling‘s script is determined to increase the stress and suspense factors.
Most of these efforts felt reasonable to me, or at least not overly challenging or irksome. The Desperate Hour is a thriller. I didn’t fight it. I accepted the rules and requirements.