A woman who has suffered a personal tragedy decides to leave everything and everyone behind, but a man with sinister intentions will turn her life into a living nightmare.
My stomach was tight, and I could hear my heartbeat throughout all three acts and every chapter. If that film title referred to a drama, I would be depressed in advance just by speculating about its subject. In a thriller, though, that I admittedly knew nothing about, I had no idea what to expect. It was tempting to cheat and read the logline, but I didn’t.
The nonverbal opening sequence speaks volumes; when there’s nothing to say, say nothing. The sequence with the heroine trying to overtake the SUV is defined as the inciting incident, which marks the way director John Hyams builds up suspense. From then on, it is like a heart attack waiting to happen. The moment Marc Menchaca knocks on Jules Willcox’s window, you know that everything is gonna go tits up. I will not give you any spoilers, but pay attention to the protracted shot at the pit stop, the close-up in the basement, and Menchaca’s monologue. These are but a few examples of sequences that indicate high-quality levels of pre-production and meticulous execution during the production and, consequently, the post-production stage. Needless to say, excellent chemistry between Menchaca and Willcox.
Mattias Olsson, who wrote the original Swedish film Gone (2011), also pens the script for the adaptation, giving it the justice it deserves for the American audience. Well done to all the cast and crew, who seem to have worked under quite unfavourable weather conditions. My round of applause will go to the Department of Sound this time for their thorough work on diegetic sounds (sounds produced by nature). Keep your eyes peeled and your ears wide open for the last Oskar-level shot.
Alone is a spine-chilling thriller about loss and acceptance and how catharsis can come as a wolf in sheep’s clothing. My challenge for you is to try and find what the villain wants… but also what the villain needs…
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