These are the guys that have been killing you.

12:01

(1993)

(SPOILERS) 12:01, a Fox Network TV movie, was first shown the same year as Groundhog Day, that much feted classic of the one-day-repeated micro-genre that also includes the recent Edge of Tomorrow/Live. Die. Repeat., The X-Files’ Monday and Source Code. It had previously been made as a short three years earlier, with Kurtwood Smith. Indeed, Richard Lupoff, Jonathan Heap and Philip Morton, the writers, sued the Groundhog Day people, claiming plagiarism. 12:01 is a serviceable little movie, engagingly told, but it’s easy to see why it hasn’t entered into the annals like its more illustrious companions.

Indeed, even The X-Files’ Monday (from the recharged sixth season), is superior, telling its story effectively and punchily in half the time. Like Edge of Tomorrow and Source Code, 12:01 attempts an explanation behind its conceit, rather than it all just being magic to cause a shift in its wayward protagonist’s outlook. This forms the underpinning of events and the murder narrative, but like Groundhog Day it’s driven by a love story.

Barry (Jonathan Silverman, a more affable Judd Nelson) is a bored and put-upon personnel department employee of a company conducting experiments into particle physics. He moons from afar over scientist Lisa (Helen Slater) and ritually gets drunk with buddy and practical joker Howard (Jeremy Piven, basically setting out the store for his entire career). Lisa is shot dead, and that night Barry suffers an electric shock from a lightning strike at the same time (unbeknownst to anyone else, since the device is supposed to have been shut down) that a faster than light particle experiment is being conducted.

Barry awakes the next morning to find himself reliving his previous day. As you can probably guess, his main endeavours, once he gets the measure of his predicament, is to woo/save the life of Lisa, which inevitably leads to working out just who is responsible for her (attempted) murder and for continuing the (banned) experiment. Along the way there are a series of quirky little signatures (the collapsing office chair is effectively the same as Ned Ryerson and the puddle in Groundhog Day) and amusement resulting from learnt behaviours and observations of others (in particular, Barry’s reactions to his overbearing boss Robin Bartlett have something of Office Space’s relishable contempt for to all things oppressively officious).

Silverman’s solid, Slater’s incredibly likeable, Piven’s Piven, and Martin Landau as head of the project Dr Moxley is as reliable as you’d expect. There’s also a decent Danny Trejo cameo.

12:01 isn’t quite able to grasp the same giddy mettle as some of its stable mates, however. Jack Sholder (Freddy’s Revenge, cult classic The Hidden) does an effective and pacey job, but the final act reduces to efficient-but-bland straight thriller antics. There’s also only one instance where the go-for-it side of repetition is fully embraced for humorous effect; Barry awakes, galvanised, heads out to work, only to be hit head on by a car, killed, and awakes again; that kind of shorthand gag could have been used to knock the movie out of the park (as both Groundhog Day and Edge of Tomorrow exploited). As it is, Barry is only caught in his loop for about four days, by the looks of things.

The moral of the piece is much more effective, if still glib, than the meal The Age of Adaline makes, only coming from a different angle; “That’s why life is so precious. Because time passes”. Worth a look then, if a lesser entry in the repeated day cycle, and 12:01 can currently be seen on YouTube.

Comments

Mondo bizarro. No offence man, but you’re in way over your head.

The X-Files 8.7: Via Negativa I wasn’t as down on the last couple of seasons of The X-Files as most seemed to be. For me, the mythology arc walked off a cliff somewhere around the first movie, with only the occasional glimmer of something worthwhile after that. So the fact that the show was tripping over itself with super soldiers and Mulder’s abduction/his and Scully’s baby (although we all now know it wasn’t, sheesh ), anything to stretch itself beyond breaking point in the vain hope viewers would carry on dangling, didn’t really make much odds. Of course, it finally snapped with the wretched main arc when the show returned, although the writing was truly on the wall with Season 9 finale The Truth . For the most part, though, I found 8 and 9 more watchable than, say 5 or 7. They came up with their fair share of engaging standalones, one of which I remembered to be Via Negativa .

Isn’t it true, it’s easier to be a holy man on the top of a mountain?

The Razor’s Edge (1984) (SPOILERS) I’d hadn’t so much a hankering as an idle interest in finally getting round to seeing Bill Murray’s passion project. Partly because it seemed like such an odd fit. And partly because passion isn’t something you tend to associate with any Murray movie project, involving as it usually does laidback deadpan. Murray, at nigh-on peak fame – only cemented by the movie he agreed to make to make this movie – embarks on a serious-acting-chops dramatic project, an adaptation of W Somerset Maugham’s story of one man’s journey of spiritual self-discovery. It should at least be interesting, shouldn’t it? A real curio? Alas, not. The Razor’s Edge is desperately turgid.

Schnell, you stinkers! Come on, raus!

Private’s Progress (1956) (SPOILERS) Truth be told, there’s good reason sequel I’m Alright Jack reaps the raves – it is, after all, razor sharp and entirely focussed in its satire – but Private’s Progress is no slouch either. In some respects, it makes for an easy bedfellow with such wartime larks as Norman Wisdom’s The Square Peg (one of the slapstick funny man’s better vehicles). But it’s also, typically of the Boulting Brothers’ unsentimental disposition, utterly remorseless in rebuffing any notions of romantic wartime heroism, nobility and fighting the good fight. Everyone in the British Army is entirely cynical, or terrified, or an idiot.

It’s not as if she were a… maniac, a raving thing.

Psycho (1960) (SPOILERS) One of cinema’s most feted and most studied texts, and for good reason. Even if the worthier and more literate psycho movie of that year is Michael Powell’s Peeping Tom . One effectively ended a prolific director’s career and the other made its maker more in demand than ever, even if he too would discover he had peaked with his populist fear flick. Pretty much all the criticism and praise of Psycho is entirely valid. It remains a marvellously effective low-budget shocker, one peppered with superb performances and masterful staging. It’s also fairly rudimentary in tone, character and psychology. But those negative elements remain irrelevant to its overall power.

You have done well to keep so much hair, when so many’s after it.

Jeremiah Johnson (1972) (SPOILERS) Hitherto, I was most familiar with Jeremiah Johnson in the form of a popular animated gif of beardy Robert Redford smiling and nodding in slow zoom close up (a moment that is every bit as cheesy in the film as it is in the gif). For whatever reason, I hadn’t mustered the enthusiasm to check out the 1970s’ The Revenant until now (well, beard-wise, at any rate). It’s easy to distinguish the different personalities at work in the movie. The John Milius one – the (mythic) man against the mythic landscape; the likeably accentuated, semi-poetic dialogue – versus the more naturalistic approach favoured by director Sydney Pollack and star Redford. The fusion of the two makes for a very watchable, if undeniably languorous picture. It was evidently an influence on Dances with Wolves in some respects, although that Best Picture Oscar winner is at greater pains to summon a more sensitive portrayal of Native Americans (and thus, perversely, at times a more patr

My Doggett would have called that crazy.

The X-Files 9.4: 4-D I get the impression no one much liked Agent Monica Reyes (Annabeth Gish), but I felt, for all the sub-Counsellor Troi, empath twiddling that dogged her characterisation, she was a mostly positive addition to the series’ last two years (of its main run). Undoubtedly, pairing her with Doggett, in anticipation of Gillian Anderson exiting just as David Duchovny had – you rewatch these seasons and you wonder where her head was at in hanging on – made for aggressively facile gender-swapped conflict positions on any given assignment. And generally, I’d have been more interested in seeing how two individuals sympathetic to the cause – her and Mulder – might have got on. Nevertheless, in an episode like 4-D you get her character, and Doggett’s, at probably their best mutual showing.

You’re a disgrace, sir... Weren’t you at Harrow?

Our Man in Marrakesh aka Bang! Bang! You’re Dead (1966) (SPOILERS) I hadn’t seen this one in more than three decades, and I had in mind that it was a decent spy spoof, well populated with a selection of stalwart British character actors in supporting roles. Well, I had the last bit right. I wasn’t aware this came from the stable of producer Harry Alan Towers, less still of his pedigree, or lack thereof, as a sort of British Roger Corman (he tried his hand at Star Wars with The Shape of Things to Come and Conan the Barbarian with Gor , for example). More legitimately, if you wish to call it that, he was responsible for the Christopher Lee Fu Manchu flicks. Our Man in Marrakesh – riffing overtly on Graham Greene’s Our Man in Havana in title – seems to have in mind the then popular spy genre and its burgeoning spoofs, but it’s unsure which it is; too lightweight to work as a thriller and too light on laughs to elicit a chuckle.

The best thing in the world for the inside of a man or a woman is the outside of a horse.

Marnie (1964) (SPOILERS) Hitch in a creative ditch. If you’ve read my Vertigo review, you’ll know I admired rather than really liked the picture many fete as his greatest work. Marnie is, in many ways, a redux, in the way De Palma kept repeating himself in the early 80s only significantly less delirious and… well, compelling. While Marnie succeeds in commanding the attention fitfully, it’s usually for the wrong reasons. And Hitch, digging his heels in as he strives to fashion a star against public disinterest – he failed to persuade Grace Kelly out of retirement for Marnie Rutland – comes entirely adrift with his leads.

I tell you, it saw me! The hanged man’s asphyx saw me!

The Asphyx (1972) (SPOILERS) There was such a welter of British horror from the mid 60s to mid 70s, even leaving aside the Hammers and Amicuses, that it’s easy to lose track of them in the shuffle. This one, the sole directorial effort of Peter Newbrook (a cameraman for David Lean, then a cinematographer), has a strong premise and a decent cast, but it stumbles somewhat when it comes to taking that premise any place interesting. On the plus side, it largely eschews the grue. On the minus, directing clearly wasn’t Newbrook’s forte, and even aided by industry stalwart cinematographer Freddie Young (also a go-to for Lean), The Aspyhx is stylistically rather flat.

I don't like the way Teddy Roosevelt is looking at me.

North by Northwest (1959) (SPOILERS) North by Northwest gets a lot of attention as a progenitor of the Bond formula, but that’s giving it far too little credit. Really, it’s the first modern blockbuster, paving the way for hundreds of slipshod, loosely plotted action movies built around set pieces rather than expertly devised narratives. That it delivers, and delivers so effortlessly, is a testament to Hitchcock, to writer Ernest Lehmann, and to a cast who make the entire implausible exercise such a delight.

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