The Wolf Hour

A mind-blowing stop-motion animated feature.

Watts is left to do the heavy lifting as she has done so often, bringing her character shimmering into life, as real as if you were there in that sweatbox apartment with her - even this far from Mulholland Drive.

The Wolf Hour begins to feel strangely like an allegory for the paranoid fears of white women in a world of scary Black men.

Like the sheltered loner at its center, The Wolf Hour feels jailed amongst a string of half-realized ideas, too intimidated to step outside and tackle them head-on.

This movie is mostly just mood-setting, with much more going on in the background than the foreground.

[Watts] deserves an A for effort in a vehicle that rates a D for dreary, desolate and depressing. The rest of The Wolf Hour deserves an F for forget it.

Claustrophobic thriller goes nowhere despite sense of peril.

There is always the promise of something else lurking behind that closed doors, but it's too abstract to keep audience attention. Any intrigue set up in the first half of the film is soon wasted with unused plots and squandered performances.

The film gets under the skin, even if it feels archly muted, and even though the storytelling takes awhile to get moving.

Alistair Banks Griffin's take on a young agoraphobic woman in the crescendoing height of summer, chaos flounders, yet delivers audiences with a thriller that is sure to satisfy.