THE DESPERATE HOUR (2022)

February 25, 2022

Greetings again from the darkness. Given the tragic and inexcusable frequency of real world school shootings, it’s debatable whether the topic should be considered as the basis for a movie – even one that focuses on the emotional turmoil of mother and student. Regardless of anyone’s opinion on that, this viewer found very little of value in the film, outside of Naomi Watts’ efforts. It’s not particularly entertaining as a thriller, and some of the details that play out here would be comical, if not for the subject matter.

Two-time Oscar nominee Naomi Watts stars as widowed single mother Amy Carr. The one-year anniversary of the car crash that killed her husband has arrived, and those haunting visions still jolt her from a deep sleep. After calling in to work for a personal day, failing to roust her teenage son Noah (Colton Gobbo) from bed, and ensuring young daughter Emily (Sierra Maltby) is safely on the school bus, Amy heads out for a morning jog.

From that point on, most of what happens stretches the bounds of believability to the point that a few eye rolls are perfectly acceptable. Amy’s jog somehow takes her miles into a forest, and yet she manages to hold more phone conversations than an old-time switchboard operator. That is, until she learns of the active shooter. This triggers sporadic cell coverage – now she has it, now she doesn’t. Her magic phone does allow crazy fast and detailed GPS information, and yet the most ridiculous LYFT order ever. It’s clear every driver in town has had some form of car crash and evidently they all have dealt with the body shop across from the school, where the most helpful attendant in history answers Amy’s calls. The same can be said for the 911 operator she reaches multiple times – despite the local urgent and dangerous situation. And if I haven’t used the word ludicrous yet, that’s the best description of Amy’s interactions with local law enforcement … after her sprained ankle and slight concussion.

On the plus side, Ms. Watts gives the role everything she has. And since it’s a “pandemic” movie, almost every scene features her going solo. She’s a true professional that simply can’t save the material. Phillip Noyce directed one of my favorite underrated thrillers, DEAD CALM (1989), and is best known for the Harrison Ford – Jack Ryan thrillers PATRIOT GAMES (1992) and CLEAR AND PRESENT DANGER (1994). Screenwriter Chris Sparling was behind a far superior ‘one-actor’ film with BURIED (2010). A certain amount of guilt goes with criticizing this movie, given the topic; however, the exploitive nature and gimmicky elements prevent any other approach. The ending is an absurd display of social media with the all-too-familiar cry of “this has to stop.” Noyce’s film leaves us with the message that school shootings are horrible. It’s a message that I’m confident the vast majority of us have already received even before watching Naomi Watts run for 80 minutes.

In Theaters, on Digital, and On Demand February 25, 2022

WATCH THE TRAILER

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Posted by David Ferguson

BURIED (2010)

September 25, 2010

 Greetings again from the darkness. My comments about last week’s Devil dwelled on the aspect of claustrophobia in being stranded in a stuck elevator with strangers. Forget all that! In this compelling film, Ryan Reynolds wakes up in an enclosed coffin. With a head injury. Buried. In Iraq. With a cell phone. And a lighter. This takes claustrophobia and anxiety attacks to a whole new level.  If you have read Edgar Allan Poe‘s “The Premature Burial”, you have a sense.

Somehow writer Chris Sparling, director Rodrigo Cortes and Ryan Reynolds all bought off on the idea that the ENTIRE FILM should be shot from WITHIN THE COFFIN. Yes, that’s correct. There are no flashbacks to Paul’s (Ryan Reynolds) home life or the convoy ambush. There are no scenes of the FBI working the phones on his behalf. There are no scenes of the kidnappers in some darkened basement. None of that. Just Reynolds. In his wooden coffin. From all angles. In the past, I labeled Ryan Reynolds as just another plug-in for rom-coms.  While his rom-coms rarely appeal to me, I have come to respect him for stretching himself as an actor in other genres.

Paul Conroy, an American contractor working in Iraq, wakes up in a coffin. His kidnappers have provided a cell phone and inform him that he will be released only if they are paid “5 million money”. Paul spends the rest of the film frantically trying to arrange for the ransom by contacting his family, his employer, the FBI and the State Department. I will say no more other than I found my breathing getting quick and shallow and my palms sweaty just watching the plight of this unfortunate man.

There are no outside scenes, excluding a very short, disturbing video the kidnappers send him through the cell phone. The phone conversations are fascinating. You will voice-recognize the great Stephen Tobolowsky as the personnel director performing some quick legal ass-covering. You might also recognize the voice of Tess Harper as Maryann – presumable the mother of Paul’s wife as he tries to make contact. Neither of these are warm fuzzies, but both add to the heightened stress level and desperation.

This is not really a film we would want to watch a second time, but interestingly enough, I could see it becoming a cult fixture similar to “Rocky Horror”. The audience could show up with their cell phone, a lighter, a flask and a couple of other props that I won’t disclose here. Sometimes the best way to handle fear is to laugh in its face. Oh, and answer your cell when loved one’s call. Lastly … I don’t want to be buried alive.

SEE THIS MOVIE IF: you enjoy anxiety attacks

SKIP THIS MOVIE IF: you freak out in a traffic jam OR expect to see Reynolds’ abs.

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Posted by David Ferguson