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I Think We’re Alone Now
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I Think We’re Alone Now

I Think We’re Alone Now

I Think We’re Alone Now,” Reed Morano’s handsome, heavily-underlined treatise on solitude, opens on a post-apocalyptic town near the Hudson River. Tattered flags, that favorite symbol of failed Americana, droop on the empty Main St. of this new ghost town. And here comes its sheriff, an ex-librarian named Del (Peter Dinklage, straight-shouldered and stable) who is the sole survivor of the sudden something-or-other that wiped out the 1,600 people in his hamlet, and presumably, everyone else in the world. Enter teenage-ish Grace (Elle Fanning) with a car full of M-80s and a handgun in the backseat to detonate Del’s civilized society-of-one — though the fireworks she lights on her first night set a high bar for beauty and emotional impact that the film never manages to top.

Del is fine on his own. He felt more alone before his neighbors died off: a small, serious man surrounded by 1,599 other residents who treated him like a misfit. Now, he spends his days like a bacteria stripping the town to its bones. He politely breaks into each home, harvests batteries from clocks and electric toothbrushes, cleans out rotting refrigerators, wraps up corpses, and drives the mummifying bodies out for burial. His makeshift cemetery is so crowded with round-topped graves, a skier could use it as mogul practice. To be honest, Del makes the apocalypse look pleasant. A self-contained man with a small ecological footprint, he could live forever on his stash of wine, fresh fish, and books. When he turns on a movie, he selects a silent Harold Lloyd

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