Naomi Watts

Colton Gobbo

Sierra Maltby

Michelle Johnston

Woodrow Schrieber

David Reale

Jason Clarke

Debra Wilson

Christopher Marren

Joshua Bowman

Todd Collins

Zehra Fazal

Juan Pope

Ellen Dubin

Rebecca Flinn-White

Edie Mirman

Paul Pape

Diane Johnstone

Beau Ferris

Stephanie Gorin

Brittany Whyte

Chris Sparling

Alex Dong

John Brawley

Samson Glogowski

Zack Schiller

Alexandra Lalonde

Chris Parker

Zosia Mackenzie

Amanda Lee Street

Jamison Rabbe

Devin Andre

Nathan Rival

Karen Churma

Traci Loader

Aaron Kaplan

Daryl Purdy

Theo James

Fil Eisler

Lee Haugen

John O'Regan

David Boies III

Dylan Sellers

Andrew Corkin

Tyler Zacharia

Krista Bell

Rob Bertola

Alan deGraaf

Kelly McGahey

Phillip Noyce

Thriller

The Desperate Hour

Boies/Schiller Film Group

Untapped

Limelight

Stratagem Pictures

Canada

United States of America

Just the other day I was appalled at how the new Texas Chainsaw Massacre invokes a real-life tragedy such as a high school shooting to justify its brand of gratuitous violence. On the other side of the spectrum is a film like The Desperate Hour – a reminder that the most powerful stories about such tragic events don’t focus on violence but on people. The Desperate Hour (which never even makes it physically to the school) doesn’t reach the virtuoso heights of Gus Van Sant’s Elephant or Denis Villeneuve’s Polytechnique, and it fails to do so because it botches the third act, but remains nonetheless a poignant effort.

Naomi Watts deserves quite a bit of credit for a performance that is as demanding physically as it is emotionally. She is in every single scene and her voice is almost exclusively the only one we don’t hear coming out of her cellphone; not only does she have to carry the entire movie all by herself, but she literally picks it up and runs with it. As the mother of a student attending a high school where there is an active shooter, this is inevitably somewhat of a one-note role, but sustaining that note without turning it up all the way to 11 is no mean feat; on the one hand her maternal instinct has to take over her every action and word, while on the other her growing concern must never give way to hysterics that will alienate the audience. Watts manages this delicate balance rather well, and her character is never anything other than relatable and accessible.

And then comes the contrived third act, where the wheels come off in a way reminiscent to Halle Berry’s 2013 vehicle The Call. Of that movie Roger Moore of The Seattle Times wrote that “It's only when our Oscar-winning heroine puts down the phone and sets out to do some sleuthing of her own that The Call disconnects, turning into something far more generic and far less exciting”; here, Watts doesn’t put the phone down, but it’s who she calls that gives this otherwise fine film a spin that belongs more in a mindless thriller than in a thoughtful exploration of this subject.

Dean

I was hoping that it would be another great movie playing Naomi Watts as I love most movies she's in, but sadly this one isn't one of them. This movie was super boring. It's basically Naomi Watts walking and talking on phone whole time. I couldn't endure it and just stopped watching it after 30 minutes or so and then fast forwarded and and all movie she's walking and talking on phone.