I Think We're Alone Now review

Is there anyone better at playing soulfully sad than Peter Dinklage? The Game of Thrones star is front and center in I Think We’re Alone Now, a post-apocalyptic drama in which he plays the last man on Earth who discovers he’s not as alone as he thinks when a young woman (Elle Fanning) enters his life. Characters in similar stories might celebrate this miraculous opportunity for human connection, but Del (Dinklage) resents it – he actually prefers being by himself, even in such extreme circumstances. Like an episode of The Twilight Zone extended to feature length, I Think We’re Alone Now wraps emotional exploration in a high concept premise. And like Rod Serling’s seminal sci-fi anthology series, this movie features a third-act twist – but this one almost torpedoes the entire story.

This is the second film from director Reed Morano, the celebrated director of photography who broke out last year by establishing the visual style of Hulu’s The Handmaid’s Tale. Here, Morano serves as both director and director of photography, and no surprise, her camera work is beautiful. But the director also captures an intimacy in the lead performances that gives the movie some much-needed life: since the cause of the apocalypse is never explained and frankly not much happens in this story, the audience is left to focus more on the actors than the plot. Luckily, Dinklage and Fanning are up to the task.

Dinklage is solid as Del, an isolated man living in a New England town whose population has been wiped out. He spends his days in silence, methodically going through each house and retrieving batteries from remote controls and vibrators before burying the dead in a hill on the edge of town. But you get the sense that he’s doing this out of compulsion rather than any sense of respect – one of the film’s biggest themes is the idea of feeling lonely while being surrounded by others, and the way Del unceremoniously dumps each body into the ground makes it seem as if he’s almost happy to be rid of the people who overlooked or belittled him when they were alive. He’s certainly pleased with his life of isolation, fishing for food on the local lake and keeping up his duties as the town librarian by cataloguing books that he finds in dead people’s houses. He spends his nights watching movies on laptops, swapping each computer for a new one as its battery dies for the final time.

But one night, his sleep is interrupted by a series of explosions: in the most gorgeous sequence in the movie, Del walks to the window and sees that a fireworks display has been set off across town. (Morano’s framing and the confusion on Dinklage’s face makes each explosion represent a different possibility for what may lie ahead.) That’s when Del meets Grace (Fanning), an energetic teenager who’s his polar opposite and who teaches him how to appreciate people. It’s a simple concept, but Morano spends a lot of time fleshing out their relationship and finding small moments that resonate: an emotionally wounded Del looking up at Grace, the two of them performing a small ritual for each new buried body, an argument over the lifespan of a goldfish, the sounds of a past life floating up from a photo album. It’s not without moments of humor, too: when Del tells Grace that batteries are the most important commodity the dead can offer, she jokes, “The necrophiliac in me would have to disagree.”

But then that pesky twist comes along and nearly ruins all the good will the film has built up until that point. Without spoiling anything, the film’s final third raises an interesting thematic point – would you want to live in a world in which all negative emotions could be purged from your mind? – but it does so in such a rushed and unsatisfying fashion that the ending either needed to be reworked entirely or had another 20 minutes devoted to it to make it feel earned.

Still, despite a premise that sounds overly familiar and a central relationship that could easily have tipped into eye-rolling territory, Morano, writer Mike Makowsky, and the movie’s lead actors have crafted a poignant and humanist showcase of growth and compassion. Quiet, reflective, and intimate, I Think We’re Alone Now is an exceptional exhibition for Dinklage and Fanning and a further illustration of the dynamic talent of filmmaker Reed Morano.

/Film Rating: 7 out of 10

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