You have to give Australian director Phillip Noyce (“Dead Calm,” “Sliver,” “Salt”) and screenwriter Chris Sparling credit for two things. They chose to make a movie about a school shooting and did so within a real-time presentation. Coupling such a volatile sub-genre with a style of filmmaking most people regard as a gimmick is a huge gamble to take—both creatively and ethically. Sadly, at almost every turn, with every roll, the result is snake eyes.
The Opening Salvo Shows Promise
We find out a great deal about Amy Carr (Naomi Watts) within the first 10 minutes. She wakes in the morning listening to a self-help podcast titled “Coping with Loss,” makes sure her young daughter Emily (Sierra Maltby) catches the school bus, brews some coffee, and hopes against hope her teen son Noah (Colton Gobbo) has woken up on the right side of the bed.It is implied that Amy jogs every morning, and on this particular day it seems everybody wants to talk to her at the same time. Her mother asks her to arrange a car repair, a co-worker at an accounting firm rings her intimating he might want to date her, and her well-intended but long-winded friend is relentless in consoling her on the eve of a tragic anniversary.
Not far into her run, Amy is passed by multiple oncoming, fast-moving police cars but doesn’t give it much thought and keeps going. It is only after alerts start blowing up her phone that it become clear something has gone awry: A shooter has taken hostages at Noah’s high school.
Pure Overkill
Perhaps out of a desire to put the audience inside Amy’s head, Noyce and cinematographer John Brawley switch back and forth between interchangeable, generic aerial shots of the woods and jittery hand-held, rotating camera work. It’s all terribly disorienting and adds absolutely nothing, save for maybe inducing motion sickness. Adding to the misery is composer Fil Eisler’s relentless, often bombastic, ham-fisted score. Having no music would have been far more fitting for this type of production. At about the halfway point the filmmakers toss in a plot twist which makes decent sense and is thoroughly plausible, but it also marks the movie’s arguably moral and storytelling nadir.It’s far too early in the year to call “The Desperate Hour” the worst movie of 2022, but it is highly improbable that any studio will release another film so unneeded, so unwanted, so squirm-inducing, so utterly tasteless, and so difficult to watch. One of its few saving graces is a short (84 minutes) running time.
Watts Goes All In
One of the most difficult things to do as an actor is to deliver an impressive and notable performance in a patently horrible movie and it wouldn’t be the first time Watts has achieved this feat. She gives it her all here and is beyond committed to the role. With the exception of the superb, little-seen “Luce” (2019), “The Desperate Hour” is just the most recent in a string of live-action misfires and clunkers Watts has appeared in since 2015. In much the same manner as Liam Neeson, Watts seems to be accepting every last role offered to her, regardless of quality, which in itself isn’t a bad thing; everyone has bills to pay and her days as a marketable leading lady are probably drawing to a close.However, as one of the movie’s 17 producers, Watts should have never let this monstrosity make it past the first read phase. There is no meaningful reason whatsoever for this movie’s existence.