Review of 11:14

Introduction

Greg Marcks` feature-length debut has been around for some time, premiering at Cannes in May 2003 and, aside from limited releases, has been confined to the film festival circuit. Following a theatrical release in July 2006 in the UK, it has inevitably found it`s way onto DVD some seven months later.

Jack Levine (Henry Thomas - Elliot from E.T.!) is driving down the road, listening to `The Ramones` and chatting on his cellphone when the clock turns 11:14 and he hits something. To his horror, he discovers it`s a man and to compound matters, the roads aren`t as empty as he would have liked. As events unfold, the background of the deceased, Jack and the other three stories become clearer and increasingly intertwined.

Video

When I was watching the film, I assumed that, like `Miami Vice`, it was shot on high-definition digital video due to slightly grainy nature and poor lighting, but was surprised to discover it was actually shot on 35mm film and budget wasn`t an excuse because Marcks spent US $6,000,000.

Audio

The DD 5.1 mix is generally very good, with a decent score and rock-dominated soundtrack that fits in well with the tone of the film and its` characters.

Features

Only a trailer, which I would advise you not to watch as I think it would spoil the film and I`m glad I didn`t see it until after I`d seen the feature.

Conclusion

Watching this, I was reminded of the films of Alejandro González Iñárritu and especially Doug Liman`s `Go` in which events are seen from different viewpoints and the interconnected nature of the protagonists does not become clear until near the end of the film. In `11:14` however, there is no central event, but five stories which seem isolated but gradually become more and more linked.

Although it`s his debut film, Marcks has been able to secure an excellent cast including Hilary Swank, Patrick Swayze, Colin Hanks and Rachael Leigh Cook. The rest of the cast are largely recruited from TV shows or from small film roles.

Films with non-linear narratives and especially here, where everything is linked by a particular time, can seem contrived and not even work. It is to Marcks` credit that `11:14` succeeds in linking the five stories together without stretching the chronology to the point where the film loses credibility.

Although I felt that I`d seen all this before and the chances of the events depicted occurring in one small town in the space of just ten minutes were non-existent, if you allow for a temporary suspension of disbelief, then `11:14` is an enjoyable film to watch and hopefully a sign of things to come from Greg Marcks.