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Monday at 11:01 A.M.

Monday at 11:01 A.M.

2016

R

Director

Harvey Lawry

Runtime

96 minutes

Average Rating

No ratings yet

Synopsis

A horror based psychological thriller set in an altered world where one man's perception of reality becomes distorted as his existence keeps being thrown back in time -- specifically "Monday At 11:01 A.M."

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Diversity & Representation

Overall Score

2.0/10

Limited


Category Breakdown

LGBTQ+ Representation

Minimal

The film lacks any evidence of non-heteronormative identities or same-sex intimacy. The narrative focus remains strictly on the protagonist's temporal distortion.

Gender Representation

Fair

Female performers like Briana Evigan and Lauren Shaw are part of the cast. However, the story centers on one man's perception of reality.

Racial & Ethnic Diversity

Minimal

The cast and synopsis provide no indication of a non-white majority. There is no explicit exploration of racial or ethnic identity.

Religious & Cultural Diversity

Fair

The premise of distorted reality allows for potential moral relativism. However, there is no evidence of anti-institutional or anti-capitalist themes.

Disability Representation

Minimal

The protagonist's psychological distortion could relate to neurodivergence. Yet, there is no confirmation of how mental health is treated or portrayed.

Strengths

  • The inclusion of female cast members like Briana Evigan and Lauren Shaw provides some gender presence.
  • The temporal loop premise offers a framework for exploring subjective reality and moral relativism.

Areas for Improvement

  • The film lacks representation of LGBTQ+ identities or non-heteronormative narratives.
  • There is no evidence of racial or ethnic diversity within the cast or story.
  • The depiction of psychological distortion lacks confirmed agency or nuanced treatment of neurodivergence.

AI Analysis

Monday at 11:01 A.M. functions as a localized, character-driven study of existential dread. The temporal loop structure focuses on the fragmentation of a single individual's self rather than broader social critiques. The film follows a traditional psychological thriller trajectory. It prioritizes individualistic themes of subjective reality over the disruption of systemic social hierarchies or intersectional storytelling. Because the narrative is centered on one man's experience, the film lacks verifiable evidence of intentional representation across most diversity categories.

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