‘11th Hour’ ends too abruptly

Los Angeles Times - - MOVIES - — Katie Walsh

In “The 11th Hour” star- ring Kim Basinger, moth­er­hood is con­ceived as a mys­ti­cal, har­row­ing ad­dic­tion of sorts, a yearn­ing for fem­i­nine pur­pose that can drive one to the dark­est depths for a fix.

Basinger plays Maria, an Amer­i­can busi­ness­woman in Europe who wants noth­ing more than to have her own child, pur­su­ing it to the detri­ment of her own safety and re­la­tion­ship.

Af­ter suf­fer­ing her eighth mis­car­riage, in which she nar­rowly es­capes death, she be­gins to sense the ghostly spirit of her would-be daugh­ter, who whis­pers en­treaties for Maria to find her. The quest leads Maria to the Ger­man-Czech bor­der, where she has heard that in­side the ram­pant sex trade peo­ple are sell­ing in­fants for cash.

Along the way, she picks up a drug-ad­dicted tran­sient (Jor­dan Pren­tice) to serve as her as­sis­tant in baby pro­cure­ment. Pren­tice brings an earthy, grounded pres­ence to the film, bal­anc­ing Maria’s point of view, which is dreamy, dark and sur­real, toe­ing the line be­tween hal­lu­ci­na­tion and re­al­ity. Basinger plays Maria as cold and de­tached, her blink­ered fo­cus on her goal and loose grip on re­al­ity lead­ing her to baf­fling, bad de­ci­sions.

Writer-direc­tor An­ders Morgenthaler’s con­clu­sion comes far too hastily and hap­haz­ardly, with a dis­re­gard for plot de­tails or plau­si­ble sto­ry­telling. “The 11th Hour” seems to say all the tri­als to which Maria is sub­jected are worth it. “The 11th Hour.” No MPAA rat­ing. Run­ning time: 1 hour, 37 min­utes. Play­ing: Laemmle’s Mu­sic Hall 3, Los An­ge­les.

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