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Publisher: Vanessa Angélica Villarreal

Info: author of BEAST MERIDIAN, 2019 Whiting, Texas Institute of Letters Best First Book of Poetry, Kate Tufts Discovery Award finalist, RGV anchor baby, H-Town punk

Alistair Banks Griffin

Brennan Brown, Emory Cohen Genre - Mystery country - UK Directed by - Alistair Banks Griffin Runtime - 1H 39 minutes The Wolf Hour Theatrical release poster Directed by Alistair Banks Griffin Produced by Brian Kavanaugh-Jones Bradley Pilz Written by Alistair Banks Griffin Starring Naomi Watts Emory Cohen Jennifer Ehle Kelvin Harrison Jr. Jeremy Bobb Brennan Brown Music by Danny Bensi Saunder Jurriaans Cinematography Khalid Mohtaseb Edited by Robert Mead Production companies Automatik Bradley Pilz Productions HanWay Films Distributed by Brainstorm Media Universal Pictures Release date January?26,?2019 ( Sundance) December?6,?2019 (United States) Running time 99 minutes Country United States United Kingdom Language English The Wolf Hour is a 2019 psychological thriller film written and directed by Alistair Banks Griffin. It stars Naomi Watts, Emory Cohen, Jennifer Ehle, Kelvin Harrison Jr., Jeremy Bobb and Brennan Brown. The film had its world premiere at the Sundance Film Festival on January 26, 2019. It was released on December 6, 2019, by Brainstorm Media. Universal pictures Cast [ edit] Naomi Watts as June E. Leigh Emory Cohen as Billy Jennifer Ehle as Margot Kelvin Harrison Jr. as Freddie Jeremy Bobb as Officer Blake Brennan Brown as Hans Production [ edit] In October 2017, it was announced Naomi Watts would star in the film, with Alistair Banks Griffin directing from a screenplay he wrote. [1] In November 2017, Jennifer Ehle, Emory Cohen, Kelvin Harrison Jr., Brennan Brown and Jeremy Bobb joined the cast of the film. [2] Release [ edit] The film had its world premiere at the Sundance Film Festival on January 26, 2019. [3] [4] Shortly after, Brainstorm Media acquired distribution rights to the film. [5] It was released in the United States on December 6, 2019. [6] References [ edit] ^ Hipes, Patrick (October 20, 2017). "Naomi Watts To Star In Psychological Thriller 'The Wolf Hour ' ". Deadline Hollywood. Retrieved June 26, 2019. ^ N'Duka, Amanda (November 28, 2017). "Jennifer Ehle, Kelvin Harrison Jr., Emory Cohen Join Naomi Watts In 'The Wolf Hour ' ". Retrieved June 26, 2019. ^ "The Wolf Hour". Sundance Film Festival. Retrieved June 26, 2019. ^ Debruge, Peter (November 28, 2018). "Sundance Film Festival Unveils 2019 Features Lineup". Variety. Retrieved June 26, 2019. ^ Wiseman, Andreas (June 26, 2019). "Naomi Watts Thriller 'The Wolf Hour' Sells To Brainstorm Media For North America & UPHE For Slew Of Int'l Markets". The Numbers. Retrieved October 14, 2019. External links [ edit] The Wolf Hour on IMDb.

Photo credit: Automatik; Bradley Pilz Productions; HanWay Films The apocalyptic anxiety of our present sociopolitical moment is the not-so-hidden undergirding of Alistair Banks Griffin’s psychodrama “The Wolf Hour, ” in which Naomi Watts plays June Leigh, a fearful author who’s isolated herself from the outside world by holing up in her fifth-floor South Bronx walk-up. But it’s not 2019, when even the most dedicated of hermits can feel connected to others through the Internet. Griffin’s analog setting is the summer of 1977, when New York’s then-notorious version of urban decay had segments of the city ready to ignite, while a steady stream of news about “The. 44 Caliber Killer” ? a female-targeting serial murderer soon to be known as “Son of Sam” ? had single women on edge, especially those with long, dark hair, like June’s. But despite a typically committed performance by Watts, once again showing her special affinity for hard-edged sufferers grinding out a way to survive, and an aura of the familiar and off-putting (reminiscent of Griffin’s 2010 indie debut “Two Gates of Sleep”), “The Wolf Hour” struggles to justify its increasingly grating moodiness. It doesn’t work up much steam, neither as a single-location paranoid thriller nor as an especially revealing character study of self-imposed, jittery confinement. Also Read: 'Game of Thrones': With Naomi Watts Prequel on Ice, What's the Future of HBO's Planned Universe? Initially, though, the sickly green, Fincher-ish tinge to Khalid Mohtaseb’s cinematography ? which captures the thin film of sweat on Watts and the pungent layer of neglect over everything in June’s apartment (formerly her grandmother’s, the previous tenant) ? and the ambient sound design hold the tense promise of an intriguing dive into a worried mind. Outside, the Bronx rattles, moans and yells, while inside, in dim light, we can hear the buzz of flies, but more urgently, to June’s fragile sensibility, the sinister crackle of her intercom, as if someone is desperate to get inside her building. Whenever she tries to answer it, though, no one seems to be there, just distortion and faint talking. Is this a prank? Or is she imagining it? June’s interactions with detectable humans, on the other hand, amount to prickly exchanges built around necessity. She can shove money under the door when rent is due, but when the grocery store sends a new delivery kid, Freddie (Kelvin Harrison, Jr., “Assassination Nation”), her guard goes up, especially when he asks if he can use her bathroom. She’s not crazy about having to accept her sister Margot (Jennifer Ehle) as a concerned visitor, but June begrudgingly allows it, even letting slide cracks like Margot’s after some helpful cleaning, “I keep expecting to find a dead body. ” Also Read: Andrew Lincoln to Star Opposite Naomi Watts in 'Penguin Bloom' Sibling rivalry rears its head, though, after their conversation discloses that Margot, also a writer, never had success the way June did with her counter-culture smash novel “The Patriarch, ” hardback copies of which litter the apartment. I wish we didn’t have to learn about the book’s impact ? including a key piece of psychological information ? from a TV interview clip that awkwardly recreates a late-’60s interview show with an imperiously judgmental William F. Buckley-type (Brennan Brown, overdoing it). It’s a heavy-handed bit of shoved-in exposition that disrupts the already-wearying aura of housebound anxiety in the movie’s Hitchcockian shout-outs and “Repulsion”-like set-up. Then again, regarding the latter reference, perhaps one of Griffin’s goals was to refashion Roman Polanski’s horror classic about a delicate beauty’s corrosive fear of sexually liberated society into a more timely scenario that adds political existential dread and the historical reality of sexual violence as thematic hues. When June finally gets a cop (Jeremy Bobb, “Escape at Dannemora”) to make a house call about the menacing buzzing, it devolves into a believably danger-filled exchange surrounding male institutional power. Later, the appearance of a want-ad-solicited “date” named Billy (an effective Emory Cohen), a self-proclaimed “midnight cowboy, ” carries its own mini-rollercoaster of suspicion, sensitivity and worry. Also Read: Naomi Watts on Remaining Locked Up in 'The Wolf Hour' (Video) Eventually, though, when the notorious blackout of that New York summer factors into the finale, there’s little sense that the movie’s external certainties and interior turbulence have fused into anything meaningful. Again, there’s admirable visceral oomph to Griffin’s final push as that infamous night’s destructiveness becomes impossible for June to ignore, but what we’re left with as an emotional climax is lacking and, one could argue, predictable considering the protagonist’s profession. There will surely be buzz surrounding Watts, who conveys utter dedication to June’s predicament even as the movie around her betrays a stylistically engineered quality. “The Wolf Hour” is, in a sense, almost too smart for its own good: savvy about the movie language of cooped-up constructs, aesthetically bold in look and sound, and content to let a great actor lead the way. But even lives like June’s ? brilliant but trapped in their neuroticism ? need to feel alive onscreen, not just coldly examined, and ultimately “The Wolf Hour” feels more like an exercise in the psychology of unease than a full-throttle leap into it. 15 Buzziest Sundance Movies: From Shia LaBeouf's 'Honey Boy' to 'Leaving Neverland' (Photos) Sundance 2019: Film fanatics will brave the cold to see these hot films in Park City, Utah Park City, Utah, is about to be flush with cash -- and we're not talking about buying apres ski gear. Here are the most buzzed-about titles of the 2019 Sundance Film Festival. (Note: some already have distributors).

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