It’s best to jump right to 11: 02 a. m.
After a hazily violent opening sequence that foreshadows the conclusion of “Monday at 11: 01 A. M.,” Michael ( Charles Agron, who also wrote and co- produced) and Jenny ( Lauren Shaw) pull into a sleepy, twilight zone town where time stands still at the aforementioned hour.
One can run a tab at the antique shop, and there’s a doctor at the inn. It’s hard to decipher whether these details signpost a dream logic or a screenwriter who doesn’t get out much.
While out exploring, Michael happens upon faceless people with horns sprouting out of their hooded black robes who are joining in a ritual circle. At night, he hears screams and a struggle coming from a vacant room at the inn. Jenny soon van- ishes. None of the townsfolk know her whereabouts; moreover, they act like they’ve never seen her. Although we experience the goings on through Michael’s viewpoint, it appears increasingly unreliable.
Agron’s screenplay and Harvey Lowry’s direction seem more concerned with scattering crumbs than fashioning credible characters and an engaging story. It doesn’t help that the performances are wooden and the filmmaking on autopilot. “Monday at 11: 01 A. M.” MPAA rating: R for some bloody violence, and language throughout including sexual references. Running time: 1 hour, 36 minutes. Playing: AMC Universal CityWalk 19. Also on VOD.