The problem comes when we begin to act in this way beyond such safe confines. Like that movie, the time device of Twelve Minutes evokes uncanny states of mind-a panicked fever dream, a memory that just won’t let go, a premonition you repeat ad infinitum-conditions in which we stretch the boundaries of our own behavior. In a way, it echoes another Nolan movie, Memento, about a man with amnesia whose story is told backwards. The actual ending of Twelve Minutes isn’t so neat, nor is its payoff quite so gratifying, but this isn’t a deal breaker. As a whole, it reminds me of Nolan’s films, Interstellar and Dunkirk, when various planes of time coalesce to wonderful, clarifying effect. There’s a light touch to the choreography of conversations and actions that occur alongside one another, each one filled with heartfelt emotion. I won’t divulge exactly what happens, but if time is the central device around which the game is structured then this is the moment various threads fall into thrilling lock-and-groove synchronization.
#Willem dafoe creepy code#
At such impasses, for all the humanity of the script and animations, not to mention the Hollywood talent involved, I was reminded that Twelve Minutes is still a computer program-a set of code functioning according to its own predetermined logic.īut when Twelve Minutes hits, it really hits-none more than one sequence which had me convinced I was about to see the credits roll. In my frustration, I tried numerous other approaches including, perhaps a little ludicrously, flushing the stopwatch down the toilet. At one point, I was at a loss as to what to do but it turned out I had simply forgotten to make a crucial phone call. It can be a touch finickity, requiring the careful, systematic lining up of actions. Still, the puzzle element of the game is not quite as naturalistic as the drama itself.
#Willem dafoe creepy movie#
This is true, but there’s another key movie influence behind game creator Luis Antonio’s absorbing debut. Cinephiles may also note a resemblance between this premise and that of Alfred Hitchock’s Dial M for Murder, another single-apartment home-invasion thriller. It’s up to you to find a way out of this terrible situation, all without leaving the cramped three rooms of the apartment, rendered in rich colors like a classic Hollywood movie. But then, horror strikes: A cop, played with fierce intensity by Willem Dafoe, arrives at the door accusing your wife of murder. Playing as the husband, you help set the table using a classic point-and-click-adventure system of interaction-items combine with other items, objects, and people, viewed from a top-down perspective. A husband and wife, voiced by James McAvoy and Daisy Ridley, are celebrating news of their first pregnancy. Twelve Minutes confronts these questions head-on through the lens of the home-invasion thriller. We’ll likely have imagined what could drive us to such depraved extremes-the threatened life of a loved one? How about outright greed or lust? These are questions many of us will have considered in our darkest moments, perhaps alone at home or in a deep nightmarish sleep. How far would you go if pushed into a corner? What, truly, are you capable of?
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