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,...
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,...
- 12/5/2019
- by Robert Abele
- The Wrap
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