After seeing Joel Kinnaman make do without the use of his voice in last year’s “Silent Night,” he returns to films with the word “silent” in them in “The Silent Hour,” this time playing a character struggling with the rapid-onset loss of his hearing. The trouble is director Brad Anderson and screenwriter Dan Hall fail to properly mine the protagonist’s distressing predicament for its maximum potential, particularly after he’s hunted by a crew of criminals, relegating him and his deaf companion to an insular location. Not only does it lack a satisfying payoff when it comes to its set-up of intriguing, character-driven action sequences, the narrative’s emotional pull also
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