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Knowledge, in “Twelve Minutes,” is a blessing and a curse.

“Twelve Minutes,” says its director, is about knowledge, but mostly it zeroes in on how our worldview is shaped by our interpretation of the limited facts we have, which become all the more convoluted when human emotions get involved. Help is 15 minutes away, three minutes longer than the game is designed to last. So when you find a smartphone and think dialing 911 will, if not save you, at least create some game-worthy drama, forget it. And just when we think we’re getting somewhere - bam! - the game resets. The more we discover of these nameless characters the less we truly know (and sometimes want to know). Its “Groundhog Day”-like conceit - that our main character, the husband, is trapped in a time loop while his wife is accused of murder - reads like a “Twilight Zone” gimmick but becomes more engrossing the deeper we get. “Twelve Minutes” is an exquisitely designed puzzle game disguised as a cinematic thriller, with the stars to match - Ridley, James McAvoy as the husband and Willem Dafoe as the intruder lead the cast.