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The measured tone with which the movie presents its ostensible revelations is more than half the fun; nothing that comes up is ever played as a twist; the aforementioned opening scene shows Munch’s hand deliberately.

I won’t divulge any more so you can experience the cool madness of The 11th Green for yourself. Suffice to say it’s out of this world.

The 11th Green is presented in a deadpan, naïve tone of a fifties’ B-movie or a low-budget X-Files knock-off. The smeary sci-fi effects are deliberately hokey, in contrast to the authentic home movies and newsreel footage. Indeed, the sci-fi story is a kind of feint.

The extraordinarily imaginative new feature by Christopher Munch, The 11th Green, stakes out a genre unto itself: poli-sci-fi, a fusion of science fiction and the history-rooted political thriller.

There are a number of sharp political and philosophical points made, but they are undercut by “The 11th Green’s” overload of history, speculation and fantasy that strands it in a narrative Bermuda Triangle.