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Reviews provided by RottenTomatoes
Rene Rodriguez, Miami Herald: Essentially a student film that happens to star some big-name actors. Read more
Achy Obejas, Chicago Tribune: Whatever we think one minute is utterly meaningless, without connection, the next. Read more
John Hartl, Seattle Times: Neither the characters nor the ideas in Benjamin Brand's screenplay are developed enough to warrant even a 73-minute running time, and Harrison doesn't have the actors he needs. Read more
Walter V. Addiego, San Francisco Chronicle: If you like this sort of challenge, there are better examples (try The Machinist) than this lugubrious and derivative work. Read more
Richard Roeper, Ebert & Roeper: I liked it even better the second time when I knew where we were heading. Read more
Melinda Ennis, Atlanta Journal-Constitution: There is much promise here from the young director, Greg Harrison. Read more
Wesley Morris, Boston Globe: Beware serious movies starring former sitcom stars. Beware thrillers about photographers. Bewares movies set in convenience stores. Read more
Kevin Thomas, Los Angeles Times: More concerned with being clever than satisfying. Read more
Bruce Westbrook, Houston Chronicle: Excruciatingly, the film disgorges its crime and variations of it again and again. We'd prefer more detective work and less of what plays out as a grisly loop. Read more
Lisa Schwarzbaum, Entertainment Weekly: The performances are crisp and in focus, with Cox in particular showing a photogenic feel for expressing grief. Read more
Mario Tarradell, Dallas Morning News: Director Greg Harrison seems more interested in pretentiously highbrow visual effects than developing a compelling narrative during November, his convoluted, ineffective psychological thriller. Read more
F.X. Feeney, L.A. Weekly: A one-woman Rashomon that plays and replays the same traumatic incident, with shifts in nuance. Read more
Lisa Rose, Newark Star-Ledger: Pointless without pause. Read more
Jack Mathews, New York Daily News: November has the pretensions of an art-house indie trying to one-up a Hollywood trend - in this case, the Sixth Sense-style twist ending that belies everything that has gone before. Read more
Stephen Holden, New York Times: A cleverly assembled film, shot and edited on digital video for a pittance, November wants only to be an entertainingly squirmy mind tease. Read more
Roger Moore, Orlando Sentinel: It's interesting, and November does give us something to chew on. But a puzzle with no payoff isn't worth the effort. Read more
Roger Ebert, Chicago Sun-Times: It's intriguing when a film is about tension, and its method is about tension, and the two seem to be pulling against each other. Read more
Jeff Strickler, Minneapolis Star Tribune: In the gritty psychological thriller November, a gutsy Courteney Cox puts a world of distance between herself and her lightweight 'Friends' image. Read more
Jennie Punter, Globe and Mail: Does not provide enough 'clues' to Sophie's emotional background to make us care whether or not she survives the trauma of 7/11. Read more
Peter Howell, Toronto Star: The lack of proper resolution to the story is more vexing than intriguing. Read more
Todd McCarthy, Variety: A stylistic tour de force dedicated more to constructing a cinematic puzzle than to providing dramatic satisfaction. Read more
Mark Holcomb, Village Voice: November runs out of surprises well before it climaxes, and by the third go-round the plot's thinness is all that's left to illuminate. Read more
Curt Fields, Washington Post: A detective investigating the shooting comments on some photos that pertain to the case: 'It's a shame. They're almost too arty for their own good.' The same can easily be said about November. Read more