For all the hype it got I was expecting a lot more!

Best movie of this year hands down!

Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

I'm a big Courteney Cox fan, so of course, I saw her film "November" when it was first released. I didn't care for it then. I thought it was a very misguided and confusing film. I rewatched it a day ago. I have to say.....I was wrong.It's a pretty genius film that plays with you mind. It has many options to the way it ends. You, as the audience) can choose what the film is supposed to mean and what really happens in end, and makes you question what reality is. A very strong performance from Courteney Cox too (unbiased opinion). The technical side is basically flawless which is another pro. There is such a great look to the film and the editing is well-done for such a small film. Though, it's not perfect, it was unfairly pushed to the side. Some parts drag a little and some scenes that seem cheesy, with the director at fault. Directing flaws aside, you get another worthy performance from Cox that contains a creepy script and cinematography. It's not "scary", or even thrilling at times, but it is a film with a message; 8 - 8.5

"Is Modernism Dead?" reads a headline in a paper that seems to be a throwback into the times when Roman Polanski's unanswered question, "Is God Dead?" floated into people's consciousness in the late Sixties and stayed there.The difference between the choice of subject is simple: whereas ROSEMARY'S BABY dealt (in a wicked way, but still) with the impending death of the Catholic faith in lieu of a more "alternative" choice and the impending birth of the New Messiah -- namely, the Devil's own -- November tackles a completely different issue, and somehow, the question about Modernism seems out of place because it's just not an apparent part of the plot. Modernism per se, as an art form had in the 1970s stepped aside to let Post-Modernism's influence and that has since then spawned countless other movements such as Deconstructivism, Brutalism, High-Tech, Abstract Art, Pop Art, Minimalism and is as of this writing, still evolving into its newer incarnations. What that particular concept may be doing here is anyone's guess and somehow comes off a little too calculated -- like a stunt to raise a cute little premise into something out of the art-house factory. It doesn't quite work. The sentence appears at a moment when the story is supposed to unfold into its denouement (it does that three times, in an interesting little trick of the hat). The action is a freeze-frame of sorts, seen through the eyes of three slightly different perspectives. A murder, a picture taken of the crime popping in other people's slides, a woman who's camera seems to be in the midst, who is having issues with her mother and somehow estranged boyfriend, whose mind seems to be unraveling.Despite this, November is a short but enjoyable thriller in the vein of BLOW-UP with a little THE SIXTH SENSE thrown in for good measure. (And with this, I may have given the movie away but oh well.) I could relate to the character Courtney Cox plays and her growing terror at a reality that may have just disappeared while she wasn't even aware of it. (It might be a calculated move on her behalf, to play a role that is as divorced from her "Friends" persona as possible -- to establish big-screen credibility, being more known for her incursions into the SCREAM movies.) The title, however, is a little misleading. True, the events take place on an evening in November, but titling a movie after a month again, detracts.Oh, I'm complaining too much here. November is good. Short, swift, studied, restrained, kind of like a concept of a thriller and a puzzle, and no, it doesn't cheat.

November starts with a shot of a man entering a convenience store and a subsequent robbery. I've always liked movies that incorporate a robbery into the first part of the movie. The main reason is that we aren't sure what's going to happen - small-time armed robbers are erratic. Unfortunately, my wishes for the robber to get his comeuppance were squashed when he starts putting bullet holes in everyone. The trigger is apparently when Courtney Cox's silly boyfriend can't figure out how to explain his lack of a wallet. He just stands there completely dumbfounded and speechless. And we're supposed to believe that he's an attorney. His litigation skills are obviously somewhat lacking.Meanwhile, Courtney Cox sits in the car apparently oblivious to the gunshots ringing out in the convenience store.Then things get weirder. Courtney Cox keeps having flashbacks and weird experiences, and unfortunately they're not the kind that involve inviting Phoebe and Rachel over for a slumber party. No, they're the kind that involve sticking a Q-tip so deep into your left ear that you pull out part of your brain.She's also getting photographs that were apparently taken by someone who witnessed the crime at the convenience store. And since she's a photography teacher, she is able to provide a good critique of the photo quality, lighting, exposure and depth. She showcases the photos to her class, but they seem non-plussed, but apparently inspired enough to begin taking numerous photos of roadsigns, "people in strange places on cell phones", blurry pill bottles, and macro shots of dirt.Meanwhile, she's apparently also having a steamy affair with one of her students -- a young black man. Personally, I suspect that this choice in casting was due to Courtney Cox...because the moments she's on screen with him are the only moments of true electricity on the screen. And we all know that Ms. Cox isn't that good of an actress.The editing in this movie leaves a little to be desired. I am fairly certain that there were a few redundant scenes that could have been trimmed down to give this film a slimmer runtime...like around 20 minutes.

For anyone who gave this movie a high rating, and thinks he is cleverer than those who gave it a low one; let me ask you this: have you ever seen the 1962 film "An Incident At Owl Creek Bridge." No? I thought not. Perhaps, then, you've seen one of these four films—and I list them in no particular order: "Lulu On the Bridge"? "Final Approach"? "A Pure Formality"? "Sixth Sense"?These are just the ones that come to me off the top of my head. They all have the same manipulative plot; and I'll bet if I had a dollar for every film in which the protagonist is dead but doesn't know it till the end of the film, I'd be a wealthy man.I gave it a low rating, not because I didn't get it, but precisely because I did. In fact, the only reason I gave it any stars at all is because this version of the same old story is, admittedly, a stylish and well-constructed piece of cinema. Unfortunately, it's precision is also its downfall. There are so many clues that no seasoned cinema aficionado would fail to figure it out--long before the word "Acceptance" is flashed on the screen. "November" resembles—much as "Sixth Sense" does—a pretty puzzle in which you are shown all the pieces--individually, and then in various groups--until at the end, in a flurry of prestidigitation, they are all put together so you can see the actual picture. But then, it all evaporates.That kind of thing may be clever; but it makes for a film that is, at best (as in "Sixth Sense") charming; while at worst, it is merely a pointless exercise. Moreover, while some of these films have had me going for a while, half way through "November" I knew what was coming. There are just so many times you can set up an audience like that. It's a bit like all the recent movies that have been made since "The Sting" ("Ocean's Twelve" and "The Spanish Prisoner" leap to mind) in which the grift you are supposed to think is going down, is really something quite different. By now, it's just not a surprise, and--its like, you know--who cares?There really ought to be a law against reusing these apparently irresistible (to even some seasoned directors—i.e., Polanski) ploys.To close, let me compare this tidy and trite approach to film making with something like Lynch's "Mulholland Drive" or Resnais's "Last Year At Marienbad"—or even "The Draughtsman's Contract". These are pictures that give you a mystery without the cheap "gottcha" at the end. I'll be thinking about "Mulholland Drive" for a long time, watching it over and over, discussing it, reading about it and writing about it. "November," on the other hand, is signed, sealed and delivered even before it ends. The picture on her wall of the outstretched arm that clomps so heavily throughout the film, for example? Just to make sure you get it, we are shown this (imaginary) picture one more time as our heroine's dying gaze falls on her lover's hand. Take that! And that! Cheese…talk about beating you over the head