I Think We're Alone Now
Momentum Pictures | Release Date: September 14, 2018 CRITIC SCORE DISTRIBUTION
51
METASCORE
Mixed or average reviews based on 16 Critic Reviews
Positive:
7
Mixed:
8
Negative:
1
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Critic Reviews

Critic scorePublicationBy date
91
Film ThreatNatalia WinkelmanSep 13, 2018
I Think We’re Alone Now is an exercise in ambiance, and Morano is nothing if not a brilliant conductor of tone. Favoring dreamy over dreary, the movie is a handsome and often mesmerizing addition to Morano’s expanding oeuvre. Read full review
83
UproxxVince ManciniSep 13, 2018
I Think We’re Alone Now is compelling from start to finish, yet somehow not entirely satisfying. Not because there’s anything wrong with it, simply because I wish there was more. Read full review
80
The VergeBryan Bishop
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. Read full review
80
Screen DailyTim Grierson
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. Read full review
75
The PlaylistGregory Ellwood
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. Read full review
70
VoxAlissa Wilkinson
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 Read full review
67
Austin ChronicleDanielle WhiteSep 19, 2018
The film weaves comedy, horror, and romance without delving too deeply into any of them. The humor is rather dry (and completely dialogue-driven), and the horror only alluded to: There’s something chilling about certain things writer Mike Makowsky leaves to the imagination. Read full review
60
VarietyAmy Nicholson
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. Read full review
50
RogerEbert.comChristy LemireSep 14, 2018
Everything gets upended in the film’s final third, when its languid pacing gives way to sped-up plotting. Read full review
50
The New York TimesKen JaworowskiSep 13, 2018
A haunting first half can’t offset the absurd ending of I Think We’re Alone Now, a post-apocalyptic tale with a late plot twist that feels as if it comes out of left field. And right field. And center field, the stands and the dugout, too. Read full review
50
The A.V. ClubVikram MurthiSep 10, 2018
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. Read full review
42
IndieWireDavid Ehrlich
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. Read full review
40
Los Angeles TimesRobert AbeleSep 13, 2018
With the indie two-hander I Think We’re Alone Now, starring Peter Dinklage and Elle Fanning, this talented director is stuck in neutral with the illogical, unremarkable concerns in Mike Makowsky’s ham-fisted screenplay. Read full review
40
Rolling StonePeter TraversSep 12, 2018
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. Read full review
40
New York Magazine (Vulture)David Edelstein
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. Read full review
30
The Hollywood ReporterTodd McCarthy
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. Read full review
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