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 what it is about. 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 defining as it is the inciting incident that 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 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 level 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), pens the script for the adaptation too, giving it the justice it deserves for the American audience. Well done to all 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 the diegetic sounds. 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 wolf in a sheep’s clothing. My challenge for you is to try and find what the villain wants… but also what the villain needs…