Jade H
Can't believe I watched this to the end, so bad I signed up to leave this review 🤣
Rated 0.5/5 Stars •
Rated 0.5 out of 5 stars
08/11/24
Full Review
marc m
Questionable. Awful ending
Rated 1.5/5 Stars •
Rated 1.5 out of 5 stars
03/31/23
Full Review
don s
Every time I begin to feel all movies have something of merit, I run into a piece of garbage like this to remind me it isn't true. There were two movies put out in the same year with the same title about this concept. Hopefully the other is better than this. Poor acting, a slipshod story, no special effects, no mood developed. C-R-A-P.
Rated 0.5/5 Stars •
Rated 0.5 out of 5 stars
03/31/23
Full Review
Audience Member
11/11/11 (Keith Allan, 2011)
It's bad enough when The Asylum is doing mockbusters of Darren Lynn Bousman movies; I believe this may be the first time I actually went into an Asylum mockbuster fully expecting it to be better than the original. But here's the kicker: 11/11/11, as horrendous as it is, is actually not the worst movie I watched on the day I watched it. (Don't Look in the Cellar claims that title.) Trust me, avoiding this stinker is your best option, but in case you need details, read on.
Plot: Jack (Midnight Movie's Jon Briddell) and Melissa (Shark Week's Erin Coker in her feature debut) have a son named Nat (Parenthood's Hayden Byerly). For a while, Nat seems like a normal kid, but after the family moves into a new house, his behavior becomes increasingly bizarre. He's not the only one, though; their new neighbors seem to be aligning into factions around Nat, one supporting him, the other denouncing him as the antichrist. Is he? And if so, can Jack and Melissa bring themselves to do the unthinkable-sacrifice their son before he destroys the world?
There is a difference, however fine the line, between writing something that's kind of unoriginal, but still brings a new angle or what have you, and simply ripping off whatever you see around you that has any relevance. The Asylum have made a very profitable trade from the latter approach in the last half-decade or so, but as we get farther and farther into their existence, it seems like they've just stopped even trying to have their movies make sense. Compare this to one of their first handful of mockbusters; there's still some plot here, but it's not even close to being as coherent as, say, Halloween Night. It's a string of scenes lifted from other, better movies with the occasional semi-original scene thrown in (I get the feeling, though I've no proof of this, those were the scenes that popped into the heads of whatever screenwriter wrote whatever mockbuster you happen to be perusing at the time, and everything else just got stitched together around them. In this case, it's the big climactic showdown in the garage, which is pretty much the only thing about this movie worth watching). In the benefit of hindsight, well, I watched Asylum's newest-as-of-this-writing mockbuster yesterday, and they've continued on down that road, so this one is, in retrospect, not quite as horrible. Which is not to say it isn't still horrible. If you decide to take the plunge with this one, just know what you're getting yourself into, and know that it's awful. 1/2
Rated 0.5/5 Stars •
Rated 0.5 out of 5 stars
02/11/23
Full Review
Audience Member
Not to be confused with the Darren Lynn Bousman (Saw II, III & IV, The Devil's Carnival, Repo! The Genetic Opera, Mother's Day) horror of the same name released in the same year about the same thing, 11/11/11 is Keith Allan's directorial debut, and the only film he's helmed to date. For obvious reasons (it's terrible).
Watching 11/11/11 was an absolute chore, one that I forced myself to get through purely for the sake of this review. Rarely are films with production values of any sort of decency this horrendous. Though the acting is most certainly not the worst I've ever seen, nobody here brings anything worth while to the table. The plot basically consists entirely of some of the worst emulation of The Omen I've seen since... Well, Omen IV.
I don't often make a point of recommending against watching a film, but with Keith Allen's 11/11/11, I'm afraid I don't have any other choice. Despite clocking in at a mere 80 minute run time, every second is a gruelling misadventure in plotholes, stupidity, evil soccer-mom-mobiles, inept filmmaking, faulty storytelling and boredom.
(I seriously felt like giving it 11% 'cause that would be great and about accurate, but in reality it's doesn't deserve something that cool.)
10%
-Gimly
Rated 0.5/5 Stars •
Rated 0.5 out of 5 stars
01/22/23
Full Review
Audience Member
One sentence summary: A bad film about numerology and satan worship.
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Jack, Melissa, and Nathan move to a new town and a new house in University housing.
At least three of the neighbors knew that Nathan's birthday was coming right up. There's a bad sign if there ever was one! The active hornets' nest was another, especially since the editor keeps cutting to it. The rotten meat in Jack's office desk was a third; the claw marks on the family room wall should probably count as well. The fellow who came by to fix the claw marks takes one look, runs away, gets hit by a car. A door slams shut, followed by windows slamming shut and glass breaking. Good start.
Melissa has an unexpected bleeding event which leads her to find out she's pregnant. Her new doctor prescribes complete bed rest coupled with getting a nanny for Nathan and a nurse for Melissa. The neighbor across the street falls, is impaled, and dies. All sorts of clues come from neighbors and Jack's co-workers at the University.
The nurse is rather sinister, but the nanny Rhonda seems light and pleasant. Denise beats the living crap out of her, muscles in on the job, including stealing Rhonda's mobile phone. She majors in comparative religions and works part time at a butcher shop. Great stuff.
This goes on and on: 'significant event' after significant event, right up to the end. Unfortunately, the film brings none of this significance to fruition.
------Scores-------
Cinematography: 5/10 For daylight portions, the fundamentals were good. The filming during the first ritual sacrifice was hideously bad. The night sequences were spotty.
Sound: 7/10 Probably the best part of the film.
Acting: 0/10 There were so many bad performances. Hayden Byerly was terrible. Aurelia Scheppers was a disaster. None of the adult actors were worth much either. Jon Briddell, as the clueless father, was the worst of them all.
Screenplay: 0/10 Lots of bad execution. Very little of the action makes direct sense. Motivation? Forget that. A handcuffed, willful, incredibly stupid teenager escapes from the inside of a locked police car from the back seat, just second before the car explodes? I don't think so. Jack could have saved his wife by lifting the cord. Jack murdering people to save the son who killed his wife? What goes here? Not logic. The ending did not present resolution or clarification; rather, the ending seemed to deny so much of the rest of the film. The SFX were just sad.
Rated 1/5 Stars •
Rated 1 out of 5 stars
01/13/23
Full Review
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