I don't have all the words right now but this film is a work of art.

it is finally so absorbing because it plays like a lyrical road odyssey that’s also a detective story.

Yo, there's no way for me to review this film without saying, take your *insert ethnicity + "ass" here* to see this film,like now. You have to see it in order to know what you're really messing with.

The film never slows down or bores, plunging from one harrowing sequence to the next.

After the death of her husband (James Le Gros) during a robbery, a traumatized photographer (Courteney Cox) investigates what's behind mysterious clues and events that may help her to find the person who killer her partner and what happened on the day he was killed.The viewer's involvement with this story? It goes well for a while then it gets repetitive, doesn't move much, lacks in suspense and lacks in originality. Although the few characters aren't so interesting, the plot seemed to be, intriguing and complex until the script makes some wrong and strange turns, alternating facts and confusing the audience by playing and replaying scenes but changing some characteristics. Only when the ending comes you understand this on/off effect; but by that time it dragged a lot, presented many facts and couldn't keep up with any, most of the time thrown at us with no purpose. "November" uses of chapters related with death stages (anger, denial, acceptance, etc.) each time a change is introduced. I can't deny I saw it and it made me very angry when I realized the copy this movie was, borrowing elements from "Memento" and "The Sixth Sense". Painfully boring, and that's a fact you'll have to accept. 4/10

I feel they did a much better editing job in this picture (The Machinist) than in "November". Both are good flicks to watch, not the same old tripe, cranked off the assembly line. For the most part this picture (November) keeps you in the dark all the way to the end as to what's going on, it was to jerky. For example, I was not sure if the dinner scenes with mom were different days, or the same scene repeated in different ways. This leaves the viewer confused. And this happens over and over with most of the scenes in the movie. As I said before you should give The Machinist a look and see if I'm not right on this, editing can make or break a picture.

I can't really say that I liked this movie. The quality of the movie, in terms of photography and editing, including sound, is incredible. I am highly amazed that this was shot in 15 days and with a very small budget. However, the plot of the movie did not convince me at all. I agree with the comment of another user, it seems pointless at the end. It took me a while to actually get that this is what was going on in her head as she dealt with the fact that she was dying. I can't really say that I am a film expert, but I don't think that the message was handled clearly. What I mean to say is, there are some films in which they leave the ending message to the consideration of the audience. This one seems to try to do that, but, in my humble opinion, it doesn't really get there and if that wasn't the idea and what they wanted was to tell you straight up that this was all in her head before she died, then they don't manage to do that either. Don't get me wrong, I love psychological thrillers, I think they are very difficult to achieve and get through to the audience. Sadly, not everyone can actually make those kinds of films. In my opinion, even the big guys like Hitchcock and Polanski had their hits and also their misses. Anyway, that is what I think.

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