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So everyone is dead for unknown reasons save a guy who hangs out in the library. Now... where have we seen that before? Anyway, they clearly spent their money on the cast. It is a small film, with a small cast, and a small budget but it is done exceptionally well given what it is, but there is some actual power behind it. There are also a lot of miles to burn, and it's slow moving. However, it is a great story for the most part, until the end, where they had to do something to make for a climax and it veered away from the reclusive loneliness that was fine with the world ending... ...And that is where it probably lost a lot of people, but, again, they had to do something to make for an ending, otherwise it would dangle for an eternity, they just sort of made the wrong decision and broke up what the film felt like it was going to be about. Otherwise it's a watchable and moody film.
I did enjoy 'I Think We’re Alone Now' enough, but it does feel like they only scratched the surface of the plot. There's a lot of build-up, but not much reward. I still got enough from it, but I can understand the seemingly lukewarm reaction to this 2018 release. Away from that, I knew I'd get a strong performance from Peter Dinklage and he didn't let me down. Elle Fanning, meanwhile, is solid behind/alongside him. The film sets the ambience well throughout, especially at the beginning, and everything onscreen is shot pleasantly. I did find some of the music, albeit all good, out of place/overly loud in moments. Elsewhere, I personally found the run time to be finely chosen, I just think they could've utilized the 95 or so minutes better.
Channing has it all: a beautiful home, a rock star lifestyle, and a loving husband intent on ruining it all by knocking her up.
A woman struggles to acclimate to prison life while her friend organises a labour strike on the outside.
Regina and Fernanda are the owners of a family hotel in the province of Buenos Aires that has lost the splendor of other times. Submerged in bankruptcy are by chance with a significant sum of money brought by a mysterious guest.
Edee, in the aftermath of an unfathomable event, finds herself unable to stay connected to the world she once knew and in the face of that uncertainty, retreats to the magnificent, but unforgiving, wilds of the Rockies. After a local hunter brings her back from the brink of death, she must find a way to live again.
Dan Evans, a small time farmer, is hired to escort Ben Wade, a dangerous outlaw, to Yuma. As Evans and Wade wait for the 3:10 train to Yuma, Wade's gang is racing to free him.
Streetwise swaggering Christopher "C-Dub" Wang is a suburban guy who waxes political on all things Asian American and clings to pro basketball pipe dreams. But when misfortune strikes his family, C-dub must overcome living at home, working a dead-end job and his worldly older brother, to run his Mom's ping pong classes and defend the family's athletic dynasty.
After finally breaking up with his drug-addicted lover, Trevor begins a new romance that unexpectedly complicates his other relationships.
Alyssa (Lana Boy) follows her artistic aspirations to Los Angeles, leaving behind her husband Luka (Emmanuel Berthelot), who promises to join her later. The pandemic-induced lockdowns force them apart, straining their relationship until the couple decides it’s best to separate. Upon returning to Paris to finalize her divorce, Alyssa finds herself engulfed in her past life with Luka and old friends, all of which have moved on. She starts to question whether she was selfish to leave her past life behind in pursuit of career goals. Should she have been happy with the “little life” she left behind? Could she have been?
Photographer Bob loses his girlfriend. A year later he meets Kathleen. Is she in love? Or does she use him for her dark dealings with the mafia?
On a tour of Britain in 1926, Harry Houdini enters into a passionate affair with a psychic out to con the famous magician.
