Mr Stryker Funny We Keep Running Into Each Other Mark My Words Itll Never Happen Again
Intriguing and Intelligent Screenplay
Warning: Spoilers
In Middletown, at xi:14 PM, 2 cars accidents happen at the same time, affecting the lives of five unlike groups of people. A drunken driver hits a human being in a lonely road near a bridge; three young men hits a woman with a van, one of the passenger has a severed penis while another man on the road shoots them; a swain robs a convenience store, with the back up of the clerk; a man finds a body in a cemetery and gets rid off it; and a young pregnant woman tries to raise money for an abortion. All of these characters and their fates are very connected.
"11:14" is a slap-up entertainment, presenting thriller, drama, criminal offense, activeness and lots of black humor. The story goes forward and astern in time, but differently from "Memento" or "Irreversible", indeed presenting five unlike perspectives for two car accidents, each one of them disclosing new and darker information to the viewer, slightly recalling "Rashomon". The film is very well directed, and all the cast has good performances. My vote is seven.
Title (Brazil): "11:14"
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eleven:fourteen Edgy, Smart, Terrific
Festival. Based on what I'd read, I was expecting some sort of Tarantino rip-off.
Instead I got run over by a very fast, very clever motion picture. Directed by 27 year sometime Greg Marcks, the film is populated by up and coming immature stars including Colin Hanks and Rachael Leigh Cook. It'southward really 5 stories that all take identify in a small town in middle America at around 11pm on a random night.
Characters go along running into each other and bad bad things happen, but the stories are all strung together in really clever, often darkly funny ways. The dialog is abrupt and real, and Marcks has a existent skill with his young cast. At that place are some really excellent performances, specially by Rachael Leigh Cook, who as the trashy Cherie is just the correct combination of evil and drastic.
Although even in her trailer park costume she'south breathtakingly cute! Also wait for Ben Foster, who surprised me with a very realistic functioning, after something Actually bad happens to him. Hanks is also skillful, as is Shawn Hatosy. I was blown abroad! And the strangest part of the Premiere screening? It finished at exactly eleven:14.
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The deadly hr
Another non-linear story but an entertaining i!This is the kind of picture show you should lookout man on DVD because yous've often got to end and go back.The plot is rather complicated .The story unfolds,develops,rolls back on itself,leaving the viewer panting for breath.
Y'all cannot summarize the story cause information technology would mean writing spoilers,but my favorite scene takes place in Hilary Swank's shop.In that location's a lot of black humor and a proficient use of songs (particularly "these boots are made for walking").
Information technology'due south eleven.xiv and you want to stay alive.Practice non become out tonight,practice not drive your car!
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Outstanding motion picture which has activity, comedy, and intelligence
I saw this movie at the Florida State University's Seven Days of Opening Nights festival in Tallahassee, Florida. The director, Greg Marcks, is a Florida State film school graduate. I was fortunate to attend a question and answer session with him. His attending to detail is stunning. This is the type of movie where lots of gaffs could occur considering the picture is nearly v stories that eventually come together. I did not notice any gaffs. The movie re-visits previous scenes from a unlike perspective. By 11:xiv pm, all of the events come together. The attention to particular is of import because the whole movie must tie together at the stop. This movie perfectly ties together.
The acting, dialogue and action sequences are neat. It's amazing how well this motion-picture show flows. As Mr. Marcks pointed out during the Q&A session, this movie should exist seen equally a black one-act. The motion picture is funny. This movie was influenced by "Cops" and other shows that prove non-so-intelligent people. Just the movie is intelligent. If it weren't, it wouldn't be good. Based on the reaction of the audience, this movie should exist well received.
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Clever and intricate
A clever little thriller/black one-act, which holds interest. 11:fourteen tells the inter-connected stories of a group of people, all revolving around a tragic car-accident. We run into the blow, which occurs at eleven:14pm, from different perspectives, as the puzzle slowly comes together.
Sure, the story works a lot on coincidence, just it's still a cracking build up and interesting ending, despite information technology being somewhat of a let-down.
The very black humour includes 2 sections which might just exist some of the most cringing moments for men in cinema history – ane of them in particular had me cowering fear.
Proficient performances from Patrick Swayze and Hilary Swank make this a skillful cinematic treat.
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Bad decisions brand for good amusement
Half an hour or less of ane night, two traffic accidents, one severed body part, several crimes or felonies, one silly dog, at least one spectacularly bad determination per character and ii deaths brand for xc minutes of pure high-adrenalin fun. And smart fun at that! Of course, it's a fleck like, say, Lurid Fiction on Vodka/Ruddy Balderdash, but hey, I've been rarely entertained so well past other people'south fiascoes.
The stories of about a dozen American pocket-size-towners intersect at eleven:14 one night. Everybody has their own agenda, be it vandalism, fast money, sex, protecting the reputation of their daughter, or just to practise their job, and most of them take had too much too drink - which leads to the aforementioned bad decisions. Some great acting (Shawn Hatosy and Patrick Swayze stand up out), dynamic camera piece of work and fast pacing keep xi:xiv moving and viewers on their toes. And of grade, there'due south always one more twist...
I saw 11:xiv pre-release at the Fantasy Filmfest, and it was received very well. If film distributors are just a piddling smarter than the characters in this film, this should be a boom!
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A puzzling thriller
Information technology is xi:14pm, an accident happens. Different people cross paths on the road, and all of them play their part in the blow. The flick tells usa the partial stories of each of the parts involved, how the actions of each of them lead to what happens at the outset and finish of the film. The movie is a presented as a puzzle in which all the pieces are assembled when the motion-picture show ends. A second frozen in time and dissected for the benefit of the viewer.
This is a nighttime thrilling movie, full of activity, with a not bad mood and tempo, very engaging and never tedious. The flick has no pity with its own characters, all of them depicted every bit mean, nasty, stupid and/or untruthful, deserving of the drama that unfolds during the dark. Just some of the secondary characters are neutral or good.
All actors are OK in their respective roles. Two of them peculiarly smoothen: Hillary Swank, who actually nails her function every bit red-neck store attendant, and Rachael Leigh Melt is terrific as the nasty Lolita effectually which all the story, directly or indirectly, revolves.
The movie is entertaining with a round story that volition keep you glued to your chair. Its only problem is the mediocrity of the dialogs, and that the characters have no dramatic depth, simply, well, you cannot expect depth from a thriller.
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What a cracker of a flick !!
siit 6 September 2006
I knew nothing at all about eleven:fourteen when I saw it in the guide of what movie was on next. To be honest I was just going to keep 11:fourteen on in the background as I was supposed to exist doing something more than important. But I began to watch it.... and am I glad I did !! The credits haven't even finished rolling as I am writing this review considering I idea it was that good.
The plot is supposed to exist basic; an incident happens at eleven:14pm and information technology is told from v different perspectives. But oh how it all progresses, ties together, and ends in a very satisfying manner. It reminded me of a cross betwixt 'Memento' and 'Pulp Fiction' and to be honest, I establish 11:14 comparable to those above mentioned excellent movies.
The actors themselves were so natural and played the roles and then well that at that place was non one histrion that was the 'star'. I tin't say enough well-nigh this movie. Information technology was clever, witty, funny when necessary, intelligent and excellently casted.
My only gripe was occasionally also many events 'seemed' to happen in the supposed allotted time which made me aware of the time frame more I probably should. But so maxim that it detracts very little and I enjoyed eleven:14 immensely. Run into it, I am sure you will love it too.
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Worthwhile - Can't believe it's not more than widely known
This is one of those movies that you lot really ought to run across. We rented it based on the back encompass, and we were glad we did. 11:xiv has been compared to Crash and Memento. We haven't seen Crash, but it looks like nosotros should, and while I thought that 11:xiv was not quite as terrific as Memento, I felt it was definitely in the running with it.
I came to IMDb to encounter what else this guy, Greg Marcks, has washed and was surprised to see that the only other entry is a xix minute short film. How on earth did he get stars such as Patrick Swayze and Hillary Swank? If you do determine to see this flick, Practise NOT Scout THE TRAILER Start. What a rotten trailer. The trailer gives away virtually the entire plot.
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Heart-wheel washed road film!
How is it possible that 11:xiv went nearly unreleased in theaters? After modest pic-festival exposure, it played briefly in San Francisco in August 2005 (over ii years later it was completed), just that's a fell twist of fate for such a cleverly twisted movie about cruel twists of fate. Destined for sleeper status on DVD (and given a slightly higher profile by Hilary Swank's subsequent Oscar-winning functioning in Million Dollar Baby), the adventurous debut of author-director Greg Marcks boasts a fantastic cast in a smartly constructed comedy/thriller, partly inspired past Claret Unproblematic, in which a fatal traffic accident is examined and re-examined from multiple perspectives. The flashback structure involves all of the characters and events that pb up to the blow'south deadly occurrence at 11:14 on an otherwise pleasant evening in Middleton, a typical suburb of Anytown, USA (filmed in the vicinity of Los Angeles). Marcks's screenplay attracted an impressive ensemble bandage (costar Swank too signed on as an executive producer), and they're all given equal fourth dimension as the intertwined plots are revealed. They include Rachael Leigh Cook (whose bad-girl behavior sets the concatenation of events in motion); Patrick Swayze and Barbara Hershey as her worried parents; Swank and Shawn Hatosy equally would-be criminals with a dimwit plan; Henry Thomas equally a drunk driver whose interest is deeper than nosotros realize; and Colin Hanks as one of 3 teenage vandals on a fast track to trouble. With falling corpses, graveyard sexual practice, reckless gun play, and a severed penis, it's all in proficient, grisly fun (apart from intricate plotting, Marcks has no lofty agenda up his sleeve), and at that place's ultimately not much signal to its random misfortune, but eleven:14 is clearly the work of a promising filmmaker, worthy of rediscovery on DVD. Bonus features include Marcks'due south intelligent commentary, a standard backside-the-scenes featurette, and a useful "character leap" feature allowing viewers to choose a plot trajectory whenever ane grapheme encounters another.
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Too little and as well much
Warning: Spoilers
Roadkill (that isn't), a severed penis (that is), a convenience store, corpses (that'due south plural), a wicked daughter with too many boyfriends (that's plural as well): these are but some of the raw materials that go into "11:14'south" "Rashomon"-similar multiple retellings of what happened at a rural roadside about the piffling boondocks of Middleton, 'A Very Happy Identify' to Live (so the sign says) on one ridiculously eventful summer evening. There'due south plenty textile for three horror movies -- or, with wittier dialogue and more sparkling production values, a substantial sequence in a Quentin Tarantino movie. On hand are energetic immature actors -- Shawn Hatosy, Rachel Leigh Cook, Henry Thomas, and Colin Hanks, to name a few; double-Oscar winner Hilary Swank; a brave veteran, Barbara Hersey; and Patrick Swayze (his presence in "Donnie Darko" not forgotten by fans of the young and the edgy) -- a picayune like roadkill here himself -- gamely playing the loser dad of the misbehaving Cheri (Ms. Melt).
This is a whole flurry of those situations where somebody forgets that two wrongs don't make a right. It starts when a drunken young driver on a cell phone (Henry Thomas) hits something and thinks he'southward committed a felony. Somebody else finds a corpse and hides it to protect whoever he thinks is the killer. Some other guy's ready to commit robbery to pay for an abortion considering he thinks he's the dad. A coworker is ready to aid him even though it could cost her her job. One character is guilty of multiple deceptions.
Different "Rashomon," this isn't then much a single event seen from diverse viewpoints as a ophidian's nest of malfeasance'southward that all turn out to be intertwined, and information technology doesn't repeat those moments leading upwardly to "eleven:14" to get at the truth, or run them in chronologically backwards segments similar "Memento" or "Irréversible" or "5x2". Eventually it connects something said during the outset sequence with a character whose secrets come out at the finish to reveal one of the oldest plots of all -- a doomed double-cross for profit and escape -- just like something in i of Geoffrey Chaucer's grimmest, most moralistic Canterbury Tales. At that place'southward no divine retribution hither, though the local cop takes enough of the players abroad to run out of handcuffs and go tired of reciting Miranda rights.
Almost everybody'south bad in "11:fourteen," and gets worse, considering he or she does something naughty to escape consequences and fails in the attempt. Kickoff-time managing director Greg Marcks's nighttime comedy of multiple cocky-sabotage and misadventure has horror flick raw materials and B-picture inexpensive visuals and jumpy camera-piece of work simply a conceptualist's intricate and finely tuned plot: the sequences don't leave any dangling threads. The question is, though: what'due south the conception? What's all this add together up to, other than a freakishly busy night for Officer Hannagan (Clark Gregg)? It's a game, a puzzle, without a point. Compared to "Amores Perros", to "Memento," even to François Ozon'south chilly "5x2," "11:14" has nothing general to say. The puzzle is well synthetic, but it leaves you hungry for something more solid.
Marcks's scenes of wrongdoing tend to the excruciatingly slow and messy, every bit in the Coens' "Claret Unproblematic" -- which Marcks has cited equally a major influence. But instead of "Blood Simple'due south" hurts-and so-skilful suspense, there's a breathless speed in "xi:14" that keeps you watching -- but also confined you from caring about the characters The ingenuity of construction feels wasted for another reason: as in many some other moving picture with a plot line wound up tight as a pulsate, the catastrophe itself lacks punch. At the finale, the hunger for relief and revelation the multiple plot lines take aroused is only partly satisfied.
No dubiousness Marcks's attention is elsewhere, even if it's non withal clear where. Despite its B style visuals and its debts to the Coens and horror flicks and noirs, "11:xiv" is attempting a fresh outlook. At that place is clear talent here. Though the slippery mix of genres may disappoint horror fans, hipsters, and folks just out for a nasty good old time, this isn't mere roadkill. Life remains when all the corpses and wrongdoers have been dragged away, and the hybrid comedic way is very 21st century. Some of the scenes stick in your mind, and if you won't know where to file them, that may exist Marcks'south signal. If he can bring his visual and production values up to the level of his writing and directing skills, he may get the distribution this first film has been robbed of for several years. Let's hope he also finds a little more to say.
_________________
Seen during a cursory theatrical showing in the SF Bay Surface area, August 2005.
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Fantabulous and quirky comic thriller
I loved this low budget thriller, which plays around with narrative in much the same way every bit PULP FICTION and to just as adept result – albeit on a much smaller budget. The story is told from five unlike points of view of characters who converge together in a pocket-size town on one fateful dark. It'southward a darkly humorous film with plenty of odd, did-I-merely-meet-that incidents going on, and the writing is and then intricate, so fresh and intriguing that I don't think anyone could dislike it.
Thinking back over this film now, I can't aid simply chuckle at many of the sequences. The best, by far, involves Patrick Swayze as a dedicated dad attempting to 'make clean up' subsequently his daughter. Merely the thought of him chasing afterwards that darn dog through the storm bleed…great stuff indeed. Elsewhere, we become a hilarious and unusual plough from Hilary Swank equally a dim-witted convenience store employee who somehow becomes embroiled in…well, I won't say information technology, but information technology had me in stitches. Henry Thomas puts his E.T. days far behind him as a drunk commuter, Colin Hanks displays some of the convincing talent that fabricated his dad a star, and Ben Foster has one of those outlandish/OTT roles (similar the one in HOSTAGE) before he hit the large fourth dimension.
I'm guessing this is a 'dearest information technology or detest it' type of moving-picture show. Some, like me, will be drawn into the baroque and intense situations. Others volition dismiss this as an overly-complex, small-scale scale drama featuring people who are on screen for too short a time to really similar or care about. Only I thought it was great, it's a film that really 'spoke' to me and one of those I could watch over and over over again.
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Well worth a (proper) watch
'11:14' is ane of those films that is destined to have a 'cult following.' Although, to date, I have yet to detect any evidence of information technology achieving this honour. I loved information technology right from the word go and frequently effort and recommend it to many a friend, simply for them to expect at me blankly as if I'm speaking a foreign language. I suppose I can encounter why... it's certainly not your average Hollywood movie and it's a little difficult to describe.
I'll try and 'sell' it in as few words as possible: It'southward a film containing effectually four (seemingly unrelated) stories all set up in the same time one night, all of which begin approximately 15-20 minutes before 11:14pm . What we meet is the congenital-up of events in each tale, all of which come together at the titular time. Yes, I know - that synopsis hardly blows your mind. But, delight, bear with me...
It'southward really skillful! Or rather information technology's really adept if you like stories like that. If you lot're looking for something to picket in the groundwork, or yous have a habit of checking your Instagram account on your phone while you 'sentry' a movie then you lot're probably all-time off glossing over this one. Information technology really is a story that needs to exist properly watched to be properly appreciated. Equally each story ends, times rewinds around one-half an hr for the next story to begin. Each new set of characters then goes some way to shed low-cal on the questions you're left with from the previous story, until - finally - all loose ends are tied upwards by the time the credits coil.
Plus it has an excellent cast. I know Patrick Swayze will always be remembered for 'Muddied Dancing/Ghost/Point Suspension,' merely he'southward pretty damn good hither. And, although Hillary Swank will probably never win another Oscar for her role here, she's also an excellent add-on to the bandage. The you accept Colin (son of Tom) Hanks and a off-white few other familiar faces you've probably seen here or there.
Mayhap, ultimately, whether or not you're going to enjoy 'eleven:14' rests on whether you lot're into severely blackness comedy. Yeah, as the stories unfold, the trunk-count rises (and that's not including 'intimate' appendages that are severed in some freak accident. So, if you fancy taking a intermission from watching superheroes flying round a major city killing aliens and want to watch something that forces yous to actually watch information technology and take in what's happening, and then - seriously - requite this one a become. And I will continue to practice my best to 'plug' it every bit, fifty-fifty without the 'cult following' it actually is a subconscious gem of a movie (plus it'due south not that long - if that goes any way to sway your opinion).
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Go Middleton High!
I've been following the press on this picture show from the moment I first read well-nigh information technology.
I've seen several glowing reviews, virtually recently in Variety, for this motion picture,the actors and the cannot-be-more-than-fresh-out-of-high-school-himself looking Writer/Director, who shared with the audience that his age was somewhere "in the depression ii digits."
I've been patiently waiting to see "11:xiv", finally got to while I was in Toronto!! I was one of several hundred packed like sardines into the theater. Fortunately, I did not take to sit on the flooring similar the rush ticket holders.
It was unbelievable! A sick and twisted tale(5 tales actually) of coincidence, cant,minor town mentality and good(or bad)intentions gone miserably incorrect. Hilary Swank is brilliant as a convenience store worker so afraid to lose her task, she opts to chance suffering tremendous injury over practicing a little common sense. Patrick Swayze utilizes his intensity and trend towards the dramatic to comedically portray the earth's most overprotective Father, while Rachael Leigh Cook'south character, Cheri, wreaks havoc on Middelton, Anywhere, U.s..
The motion-picture show opens with a motorcar crash, a botched abort and a few nasty head injuries that ready the film beautifully. Ben Foster, Colin Hanks and Stark Sands turn an otherwise ordinary joyride through town into the nigh adolescent, gruesome and completely hysterical take chances. Non for the squeamish.
All five stories are meticulously and ingeniously synthetic. I, similar my fellow audition members, thoroughly enjoyed every bone-breaking, heart-stopping, could-things-become-any-worse-for-these-poor-middle(ton)-Americans moment. Can't expect to come across it in the States.
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If y'all're handcuffed & a cop asks you lot "How 'tour the penis?"
check your watch. If information technology isn't xi:14, exist very agape.
What'south not to like? This is very creative & very well acted & highly engrossing. The just nit I could pick is that, without doing an exhaustive written report, I'd say some of the lenghts of fourth dimension dissimilar people were supposed to spend doing what they did seemed quite short, esp. Swayze. I'll assume they did their homework, & it is correct, but information technology seems off. Otherwise, if you want something far from ordinary Hollywood hogfarts, watch this.
Don't worry about the comments virtually sick, twisted, squeamish, etc. This is almost The Muppets compared to most Hollywood "blockbuster" wannabes. whatever violence there is, is not gratuitous, not flagrant, not long-lasting. I hate violent movies, & I readily recommend this.
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Non Bad
I love the kind of plot that goes into flashback and reconstructs how a serious event occurred. This is the story of a series of decisions that impact each other. Everything happens at eleven:14 P.Yard., which is the reason for the title. This is a story of the angst and irresponsibility of a agglomeration of kids out for various reasons on a warm nighttime in a small town. When bodies start falling from bridges, grave markers fall on heads, and a phony holdup occur, it leads to an interconnectedness of a several characters. There are many proficient interim jobs in what could accept been really an exploitation film. As it is, the pacing is good, it grips us, and we find ourselves continued to the people, fifty-fifty though most aren't worthy of much. I had never heard of this picture when it came out and I was glad I watched information technology. It was dainty to run across Patrick Swayze again. I always thought he was a pretty skillful actor.
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Cleverly synthetic picture
This motion picture shows what happened in the few minutes leading up to xi:14pm of a nighttime in a rural part of America.
Information technology shows the events from five dissimilar perspectives: the innocent motorist, iii immature pranksters, the man who has to dispose of a dead trunk, a robber and a immature adult female with many boyfriends. In the commencement, the scenes do non seem connected. Bit by bit, these v perspectives interconnect with each other to form one story.
This motion picture is very cleverly constructed. It left me wanting to know what happened next. It made me desire to slice together the pieces of the jigsaw puzzle. In this film, the dialog is simple and even so effective. The scenes are to the signal and not over the height. I think the amount of gore is a bit excessive, and I found the scene where Hilary Swank wanted to be shot at very agonizing. I had to close my eyes to avoid seeing the worst! Overall, the film is worth a sentry. However, I think there are other better interconnecting films such as The Tesseract (2003).
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Expert Twisted Humor
All the characters of "xi:14" are connected with each other by iii mutual things: one) unusual accidents, 2) confusions with auto keys and three) the hour 11:14, night time. This twisted nighttime humored comedy reveals that things are unpredictable and strangely funny, merely this tin can merely work perfectly if 1) you've never seen so many films in your life or two) you have a great sense of sense of humor to all kinds of things no affair how painful or strange as it might seem.
Henry Thomas, Rachael Leigh Cook, Hilary Swank, Shawn Hatosy, Ben Foster, Patrick Swayze, Colin Hanks, Barbara Hershey, Clark Gregg and others play the characters connected by strange accidents and they try to get out of the hurly-burly, making mistakes, making their worst to avoid problems and creating other problems. It goes from motorcar crashes, a corpse falling off a bridge, a homo throwing this same corpse off a bridge, an amputated sexual organ during a accident afterward a failed prank and it goes on and on. The story is told in multiple reverse moments, nosotros see some of the situations over and over once more to empathise what really happened to all these characters.
There'southward zippo left to say about "eleven:xiv" except that the author must have a great sense of humor in creating all these situations, although one or two things are very predictable (the guy in the cemetery, I knew it what was about to happen). Only there's nothing more than than just nervous laughs in the film, no bulletin, information technology's only proficient because it knows how to bring curiosity out of the viewers and it is funny. with some dainty performances by the already mentioned casting.
Information technology is the perfect film when you don't have patience to do anything, when things are not so great in your life or whatever, just watch it, it'll bring some help, some smiles and it's good to pass the time. Don't take it so seriously or you'll miss the fun. eight/x
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Certainly way over mostly everything else, simply writer/manager Greg Marcks brings plenty of that to the tabular array so as to become by in a wavering but punchy film.
If xi:14 works, and then information technology works because it doesn't outstay its welcome. If Pulp Fiction gave birth to this sort of picture, flawlessly encompassing 3 stories into a two and a half hour-odd time frame (Iii stories about i story, call back?) and 1999 Doug Liman flick Go was sub-Pulp Fiction, merely still pretty practiced, encompassing three stories in about an hour and a half; then 11:xiv is a sort of sub-Become mash-upward in its encompassing SIX stories into something like 85 minutes. Given a good 5 minutes are opening credits and there are closing credits to boot, that makes for about 78-odd minutes of shenanigans and short-comings during which all manner of things random and apparently funny unfold. Therein lies 11:14's chief problem, it's in too much of a rush; too much of a bustle and far as well in love with its premise-come up-gimmick of unfolding multiple stories and interlocking them. When those that say 'x' needed Pulp Fiction to even exist, 11:14 is the sort of film they refer to.
The maker proves he's seen Tarantino'southward opus in interlocking all these tales nigh crime and sordid activity together, just the dialogue and general sense of authenticity is entirely lost; 11:xiv additionally subscribing to revolving effectually kids and their juvenile criminal action. Where Pulp Fiction was additionally adult and felt exceedingly so, as information technology revolved around adult characters and people you felt were either gangsters or depression-level criminals, 11:xiv subscribes to kids smoking; drinking; driving fast around town and grumbling about working in stores. As the templating of bigger, improve, more grown up films is undertaken only juvenilised, so likewise are the main characters. But all this sounds similar I hated 11:xiv, and comparing it to Lurid Fiction is a stern and unfair comparing anyway. For the record, 11:fourteen merely virtually works; plunging us into the film with an animated title sequence showing all fashion of words and names resembling swerving cars ducking; weaving; twisting and bending their way in and out of roads so along, perfectly setting the tone of what's to come every bit people do exactly this after a range of scattered events.
The film begins weakly, similar a version of Get with all the substance sucked out of it. Rather than offering an overview of the plot; needless to say lots of off the wall colourful "stuff" happens to a glut of disparate people ranging from Hilary Swank's store working Buzzy; to Patrick Swayze'southward concerned father named Frank; to teenager troublemakers Tim (Sands), Marker (Hanks) and Eddie (Foster); right through to the vampish Cheri (Cook). The key link most of the stories have with one some other in terms of physicality is a dead body or decease as a stone wall item, with how different people react to the item of death (whether caused or accidentally discovered) a sub-division to this premise. On dissever occasions, both guilt and immorality are elements or reactions built-in out of the coming beyond of the detail of death, only axiomatic when the body or the particular of death has been 'successfully' dealt with, with one character being a piddling allured past it as they utilise the death to ruin someone else'due south life whereas another offering us a grossly varied country.
The trouble here is that these thematic elements are for display only, the film showing us Swayze continuing at that place in his garage when it transpires he has gotten away with whatever foul narrative has wormed its way into his life; the 3 kids in the van haring along the route realising what they've washed in hit a pedestrian and one other graphic symbol sitting in the back of a constabulary machine having been arrested, but cut abroad and therefore onwards to the next wacky encounter it tin can cook upwardly. The moving picture is more interested in its premise and its gimmick than how these situations and encounters both bear on and mould these people, six stories in piffling Under an hr and a half its eventual downfall as previous examples take been established to study fewer tales only broaden both study and accentuate the overall perils of a given situation. In fact, rarely is the film always bothered with how the characters feel and what they retrieve of the situation they've just created and the action they've just taken; these moments limited to fleeting reaction shots rather than drawn out observations.
The tale that garnered about of my interest than the others is the story of an organised shop robbery by a immature man whom is friends with the daughter backside the till, the program to take the money and feign that a theft has taken place in the shooting of the clerk making itself rapidly apparent. In emphasising the nastiness and stupidity of the idea these two concoct between them, the film briefly shines a light on the detrimental effects and dangers of law-breaking rather than wallow in a flurry of ditzy, off-the-wall tales that hop and skip all over the identify equally they go by on sheer energy and meek interest. The tale takes us on a wild ride of emotions and morally infused content, offer a stark and uncompromising reaction one minute; a bitter-sweet decision the next. 11:xiv is decent enough entertainment, but that's all it is; comparisons to amend films which apply the manipulation of space and time more effectively to broaden groovy substance in the form of studies out of their premise exist, and make it in the grade of Memento and Irréversible. Forgive me, but on a closing, cynical note; the picture show'due south title reads on a standard English keyboard upon holding down the 'shift' central: "!!:!$", which reversed is the dollar sign followed by three assertion marks. Yes, this ploy of providing an audience with multiple stranded crime films that dart all over the place born out of Pulp Fiction'south success works; and in working out the above might just be ONE of the reasons 11:14 was even concocted.
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What Goes Effectually...
At 11:14 PM in the tiny town of Middleton, several seemingly unrelated events conspire together in society to bring cosmic justice upon the guilty.
Or, something like that.
Hillary Swank, Patrick Swayze, Barbara Hershey, Henry Thomas, Colin Hanks, Ben Foster, and Rachael Leigh Cook play mostly unrelated characters, caught up in a karmic wheel of hilariously dour serendipity. Or, is it a Mobius strip of doom? A circle of decease?
It all starts with an automobile blow that is non what it appears to exist. At all. From there, nosotros're taken on a tour of Middleton from several different perspectives, or pieces of a larger puzzle. The various story arcs combine in a nearly ingenious manner, complete with deception, conspiracy, and extreme abuse of a corpse!
Don't worry, information technology'due south all in skilful fun, and Managing director Greg Marcks makes certain that no matter how confusing information technology all seems to get, information technology makes perfect sense by the end.
Ms. Cook gets special mention for her dead-on, eeevil portrayal of Cheri, the dark center of the film. She's Middleton's black hole, sucking everyone else into a vortex of fate.
Highly recommended for those seeking something completely different...
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Clever.
The story of eleven:14 is about what happened during an evening leading eventually to ii dissimilar motorcar accidents at the same fourth dimension in the same boondocks. What is interesting most this story are the 5 very different perspectives showing how everybody got involved willingly or not in those tragic accidents. There are enough twists and turns to keep your mind occupied during the entire movie. The whole plot is cleverly written and it all fits together at one point. The interim wasn't bad at all, much better than I expected. All in all 11:fourteen was a pleasant surprise, way better than some high budget movies.
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Very Clever Movie
I came beyond this the other 24-hour interval at the rental store and it seemed similar a 'Vantage Betoken' type movie and since I liked that ane, I thought to give this a try. This is a black comedy drama movie which is extremely well directed past first-timer Greg Marcks. I was drawn into these different characters lives. I saw this in home and y'all know what the really weird function is? It ended at exactly eleven:xiv pm. I didn't fourth dimension the moving-picture show before seeing it! That was merely coincidence and really weird. The opening credits music is simply so cool.
There are five stories intertwined cleverly with each other and it doesn't pb upward to the same ending. All the carve up plots happen at 11:14 pm and information technology is very entertaining to sentinel these people go most their night. The opening story involves a roadkill (which is not his error), second involves the decapitation of a penis and another roadkill (which is definitely the driver's fault), the third story involves getting rid of a torso past the father of a hot girl, the fourth involves a robbery, the fifth revolves effectually a cheating hot girl.
This film has Colin Hanks, Rachael Leigh Melt, Hilary Swank, Patrick Swayze, Jason Segel ('How I Met Your Mother', he is totally unrecognizable here) and several other good actors. This is a very cool movie and the background score is actually astonishing. If not for the groundwork score, this would have been a serious drama. Some scenes will really gross you out, but at the same time they are hilarious too. These characters continue running into each other and very bad things happen. The dialogues are witty and existent and this young cast really go on it upwardly. Hilary Swank is brilliant as a convenience store worker so afraid to lose her job, she opts to endure injury over practicing a trivial common sense. Patrick Swayze utilizes his intensity and tendency towards the dramatic to comedically portray the world'south about overprotective Father. The well-nigh first-class operation is past Rachael Leigh Cook, who as the trashy hot Cherie is just the right combination of evil and drastic. Even in her trailer park costume she's breathtakingly beautiful! Anyway, it is a very cool lookout man.
8/10
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outstanding
i never heard most this movie or fifty-fifty knew it existed till a caught information technology on hbo. and human what a treat! this movie is so brilliant, you'll exist watching it thinking, what is going on?! then information technology explains it from some other persons point of view. with hilary swank and patrick swazey, the best known actors in the movie, leading the manner, this is a great picture show. simply like pulp fiction, it intertwines people together through a automobile crash that happened at 11:fourteen. this has some of the best interim i have ever seen in a low budget independent film and dandy directing and k dark shyamalan type writing. i highly recommend this film to anyone who has ever thought about watching it, you will be surprised. 10/10
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Squeamish little thriller, that tin can
A not then well known little thriller, that has a title, that stays for something. Simply it is worth y'all while. If y'all find in your video store do hire it, if you like a thriller with a piffling brain backside it. But don't worry, you don't have to call back as well much with this. It all comes together nicely and you lot volition have no problem following the story and the characters throughout.
Speaking of which, you accept quite a few ensemble of actors hither. Some of them have get more famous over the years. Jason Segel even starring in some comedies now and Ben Foster playing aslope such people as Dennis Quaid and Woody Harrelson. The acting is more then decent than and you could exercise worse than watching this. Requite it a adventure
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Well executed just a scrap pointless
At 11:14 PM on i fatal evening, previously unconnected lives connect for the first time, with fatal consequences for some. The film slowly unveils five separate tales as the characters unwittingly careen towards each other... 11.xiv is composed by interrelated sets of situations and characters similar Crash (2004) or Babel (2006) and I accept to say that the film was incredibly well executed. Technically speaking, it's almost flawless. But unlike Crash and Boom-boom, 11:14 is more of a dark comedy/ thriller-noir then a drama per se.
Unfortunately, the plot isn't that interesting and in the stop the moving-picture show comes trough as a flake pointless. Information technology all seems like a simple serial of events that had consequences and not a straight narrative line. I just don't recall it's a story worth telling, likewise I felt that the story was in service of the narrative gimmick and not the other way effectually. On a more than positive notation, the film has a great pace and is somewhat engaging. The cast did a skilful job every bit well. All in all, it'southward a decent lookout merely I would skip information technology.
half dozen/x
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Source: https://www.imdb.com/title/tt0331811/reviews
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