‘The Silent Hour’ Review: Joel Kinnaman Gets Trapped in an Apartment Building — and in a Ho-Hum Thriller

As a movie enthusiast who has seen my fair share of thrillers with unique premises, I must confess that “The Silent Hour” left me feeling a tad disappointed. The concept was intriguing: a detective struggling with hearing loss and a deaf companion navigating through a high-stakes cat-and-mouse game with criminal elements – it had all the makings of a gripping tale. However, the execution fell short, leaving me yearning for more innovation in the obstacles our heroes faced.

Following Joel Kinnaman‘s portrayal of a speechless character in “Silent Night” last year, he takes on another silent-themed movie, “The Silent Hour.” This time, he plays a character dealing with sudden hearing loss. Unfortunately, director Brad Anderson and screenwriter Dan Hall don’t fully exploit the protagonist’s harrowing situation for maximum impact. After being pursued by a gang of criminals, he and his deaf companion are confined to a secluded location. The outcome is disappointing as it lacks a fulfilling climax for its promising action sequences that delve into character development. Moreover, the emotional depth of the story gradually weakens over time.

Detective Frank Shaw, portrayed by Kinnaman, resides in a tranquil modern apartment, secluded from Boston’s relentless noise of traffic and sirens. Here, he enjoys his solitude, maintaining fitness, listening to his jazz vinyl collection, and contemplating life over morning coffee on the balcony. He eagerly awaits gifting his music-enthusiast teen daughter Sami (Katrina Lupi) a guitar for her birthday. However, his serene existence is about to undergo a significant transformation. During a regular investigation alongside his struggling partner, Detective Doug Slater (Mark Strong), a suspect leads him on a labyrinthine chase through shipping containers, ultimately colliding with an approaching vehicle. This incident results in a head wound and severe hearing loss for Shaw.

Approximately a year following the accident, Shaw’s apprehensions about rejoining the workforce have significantly grown due to the deterioration of his health condition. His hearing aids limit his capabilities and he recognizes the difficulties of communicating through sign language in an environment that isn’t accommodating. Nevertheless, Slater continues to help Shaw rebuild his career. He involves Shaw as an interpreter in a case involving Ava (Sandra Mae Frank), a former drug addict who is deaf and recently recorded a murder outside her soon-to-be demolished apartment building. However, just as ruthless gang leader Mason (Mekhi Phifer) and his associates show up to wrap up their business, Shaw saves Ava. Stuck on the vacant floors, the two of them work together to outsmart their adversaries using each other’s skills – Shaw’s knowledge of the criminal underworld and Ava’s understanding of the building’s peculiarities.

If only the cat-and-mouse chase depicted in the movie was more dynamic instead of how it was portrayed by the filmmakers. Apart from instances where the duo developed a secret signal using visual cues (such as waving a dollar bill under the door), and the strategic timing to play loud metal music in an annoyed neighbor’s apartment, their deafness seems to hinder rather than help them in survival situations. In many cases, it proves to be a disadvantage, like when they call for help on an elevator’s phone, or when they are caught off guard from behind while facing a door or hallway, or most notably, when one of them accidentally steps on bubble wrap while the bad guys discuss their plans in the adjoining room.

Shaw and Ava, despite their disability, consistently navigate familiar actions to escape their captors, who are positioned both indoors and outdoors. They utilize fire escapes, seek shelter in deserted attics, slide across narrow balconies, and race down the building’s stairwell reminiscent of a Hitchcock film. Although there is some tension during the elevator shaft scene, overall the anticipated suspense often results in irritation as our protagonists lack creative challenges to overcome.

Anderson and Hall don’t create their characters haphazardly; instead, they endow them with captivating inner dynamics. Moreover, they offer insightful perspectives on issues like gentrification, economic disparity, and displacement. Shaw is propelled by a mix of personal and professional ambitions, as he strives to fulfill his work commitments while enjoying his daughter’s music performances. Ava, on the other hand, fights against drug addiction and despair. Kinnaman and Frank bring depth and nuance to the otherwise ordinary aspects of the material.

For the gang leader Mason, it’s about risking his life to secure funds for his ailing daughter’s medical expenses. His trusted associate Angel (Michael Eklund), initially portrayed with humor, undergoes a transformation when a tough medic (Djinda Kane) drugs him, making him so formidable that he deserves a separate series. However, the plot development could use more polish, particularly in the handling of a predictable character twist.

The first part of the movie effectively communicates Shaw’s difficulties through sound effects like tinnitus and faulty hearing aids. However, it offers limited insights into their perspectives later on, which could have been utilized more effectively to enhance the story. Unfortunately, Anderson’s straightforward direction detracts from the action scenes, as his simple approach to fight sequences and gunfights fails to build suspense or excitement. This results in a somewhat dull film, despite its intriguing premise suggesting something more vibrant and dynamic.

2024-10-11 01:17

‘The Silent Hour’ Review: Joel Kinnaman Gets Trapped in an Apartment Building — and in a Ho-Hum Thriller

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