Critic Reviews

An ingeniously scripted psychological thriller.

Courteney Cox, well known from TV, rarely gets an opportunity to revise her famous image, but here she is serious, inward, coiled. She carries the film; the other characters circulate through her consciousness as possibilities and hypotheses.

Ambiguous in a satisfying, puzzling sort of way, November offers a triptych of scenarios revolving around a grim moment.

The depth of the story and the characters is awfully slight to bear the weight of such fancy editing. But the performances are crisp and in focus, with Cox in particular showing a photogenic feel for expressing grief.

The creative and experimental use of sound and photography are a big part of what makes November an intriguing film.

Tries to be a lot of things within its 78 minute running time, succeeding marvelously at some while crashing and burning on others.

Feels more like a clever student short that got out of hand than the Kafka-esque nightmare that director Greg Harrison (Groove) likely intended.

In the same way that a crossword puzzle tickles the mind without asking to be taken as literature, November plays games for the sake of game-playing. It also has a pretentious streak.

Exploring the possibilities of low-budget digital filmmaking is a worthy endeavor, but November is a little too in love with the grittiness of it all.

Benjamin Brand's script never levels with a viewer.