I Think We're Alone Now
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The filmmakers’ handling of the surprises has a narrative deftness and visual cleverness that is legitimately unbalancing. It also adds a blast of dark comedy to the proceedings.
I Think We’re Alone Now is a tone poem of a movie, telling its story with lush, vivid imagery, and quiet, nuanced performances. Its slow, methodical pacing may not appeal to all moviegoers, and the film’s final act doesn’t entirely work. But it’s nevertheless a beautiful meditation on loneliness and the walls we put up to deal with grief and loss.
As always, Dinklage is exquisite in a mostly silent performance that conveys the pain and survivor’s guilt Del has bottled up inside him following the incident.
In the end, I Think We’re Alone Now isn’t very interested in constructing a mythology or exploring the apocalypse itself. It’s more of a relationship drama, one that works as a showcase for two great performances against a post-apocalyptic backdrop that ups the stakes
Once I Think We’re Alone Now establishes that Grace and Del represent love versus stability, the film doesn’t have a convincing way to reconcile the two.
The A.V. Club
Unfortunately, I Think We’re Alone Now stops being interesting right when Grace (Elle Fanning) comes to town, mostly because she brings screenwriter Mike Makowsky’s trite ideas about loneliness and community along with her.
Rather than forge a believable relationship between Grace and Del that stokes our interest in the future, this uneasy two-hander strings us along by raising dull questions about the past.
New York Magazine (Vulture)
After its intriguing start, the movie gets dumb and dumberer. “Third-act problems,” concluded many in the Sundance audience. But the first two acts have issues, too.
Even Dinklage and Fanning can’t give this failed experiment a heartbeat. You won’t wish for the end of world while watching I Think We’re Alone Now, just the end of the movie.
The Hollywood Reporter
Dramatically and philosophically void and unprovocative on the grand scale of apocalyptic speculative fiction, this low-budget indie is somber and dreary on a moment-to-moment basis and leaves its talented cast stranded with few opportunities to alleviate the sense of stasis.
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