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NARRATIVE FEATURE | 92 MIN | 2004

THE 24TH DAY

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Working from his own critically acclaimed play, Tony Piccirillo constructs a dark and intense psychological thriller with The 24th Day. Though predominantly set in one location, Piccirillo uses the confines of the setting to build on the claustrophobic intensity of the story and garner tour de force performances from Scott Speedman and James Marsden. Tom (Speedman) meets Dan (Marsden) in a bar and the two quickly end up at Tom's apartment. Dan thinks he's in for a standard one-night stand, but Tom, whose wife recently died, instead grills Dan about his past sexual exploits. It is this past that catapults the story into a gripping tale of he said-he said, leading one to take the other hostage and demand answers over a tensely escalating 48 hours. Piccirillo proves himself a master of manipulation by pitting the characters against each other so that both appear trustworthy and likable, but also despicable and selfish, then he leaves us to decide whom and what to believe. The brilliant performances heighten the escalating tension and suspense: Speedman's sexually tormented Tom is the perfect antagonist to Marsden's cunning, stoic, and equally antagonistic Dan. The 24th Day is a taut psychological thriller that offers a meaningful critique of personal responsibility in private lives while keeping viewers guessing right up to the end.
Film Information
Year: 2004
Length: 92 minutes
Language: English
Country: USA
Premiere: World
Cast & Credits
About the Director(s)
Tony Piccirillo makes his directorial debut with The 24th Day. a film adaptation of his award-winning play that starred Noah Wyle and Peter Berg in a successful run at Los Angeles' Coronet Theatre, and that was nominated for an Ovation Award as Best Play. A native of South Ozone Park in Queens, Piccirillo graduated from NYU's Tisch School of the Arts film program and worked as a bartender while writing his early screenplays. The first of these, a police drama entitled The One-Nine, was sold to Scott Rudin Productions and Paramount. Others included The Just for Brillstein-Grey at Universal, Deadpool for Jersey Films, and an update of Kojak for USA Network. He also did a rewrite of Supermax for Jersey Films and Universal, and of Cloudburst for Kopelson Productions and 20th Century Fox.

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