All of Us Strangers (2023) User Reviews

I have questions and concerns and yet it's the most moving movie I've seen in years.

[tom-640 · 9/10 · 29 January 2024]

I'm a gay man who was a teenager in the 1980s - a period of massive homophobia, because of HIV/AIDS and Reagan and Thatcher and ... all kinds of other reasons, I guess. I don't know.

It was hard. I think I - like many many other gay teens of the period - assumed if I came out I'd be ostracized by my family, end up homeless, uneducated, with no future. I think I thought if I told anyone I was gay, they'd beat the hell out of me. I thought if I came out as an adult, I'd be ostracized by everyone who knew me. And if I had sex with anyone I'd get AIDS and die.

I knew I was gay when I was thirteen. I didn't tell another soul until I was eighteen. I didn't tell my parents until I was 21.

I'm now fifty one, and I'll be honest, I don't think I've ever really got over it. I've had relationships, but there's still shame there. They're still fear here. I've had anxiety of various kinds all my life. I've never really felt supported by my parents. I've done fine in my career, but I'm not quick to trust. It's held me back. When I'm feeling strong, then I'm fine. When I'm not feeling strong, it feels like it's ruined my life or that I was supposed to find a way out of those experiences and I've somehow just never managed to do so.

At one level, this is what this film is about. And it is hard as hell to watch, and yet somehow still doesn't do the feeling justice. At another level it's about loss and bereavement and loneliness. And sometimes it feels like it didn't need to be about some of those things, that there was enough there. And sometimes it feels like it's over-egged, or cruel or just too sad, and yet it's affecting and ... honestly I'm having trouble articulating what I think about it.

Adam, our hero, is living alone, and then strikes up a relationship with a neighbor while he tries to write about his parents who died in an accident. He travels back to his childhood home and discovers without shock that his parents are living there exactly as they were before they died. They invite him in. They talk. And he starts to visit them regularly and talk to them about his experiences.

For much of the movie, it's unclear what's going on. Is it a dramatic conceit illustrating him thinking through his memories? Is it a psychotic break as he loses contact with reality? Or is it a supernatural film about ghosts? Which one of those you want it to be will probably affect how you feel about the ending, where one of those scenarios is very definitely chosen over the others.

Meanwhile there's his relationship with Harry, a younger man, clearly dealing with some of his own crap, who comes reaching out to Adam drunkenly one evening. He's damaged, attractive, drunk, kind, open and patient. He helps Adam work through his fears. He tries to understand what's going on with Adam and his parents.

Their relationship is lovely. Healing. Affirming. Important. Challenging. Flawed. And it seems like maybe Adam will be healed by the experience of meeting his parents and able to reengage with life and his relationship. For a while it seems like there's something positive about the whole experience and it will move them all forward. It feels like it has hope. Hope, I guess I needed. Hope that you can move past pain and find love and that all of this horror would actually mean something or be worth something.

But then there's the ending.

You'll want to stop now if you haven't seen it. Last chance.

Just as our hero finds peace with his parents, he goes to see Harry, only to discover - sixth sense style - that Harry probably killed himself, but certainly died - immediately after their first meeting. Since then Adam has been having a relationship with his ghost. He helps Harry feel loved in this moment and the two of them disappear into the distance consoling each other, and it's so desperately sad, and it's sort of beautiful, it was weirdly truthful (a happy ending could seem too trite), but also too hard and harsh and cruel - he didn't get past his pain, he just had more pain to follow. He didn't get to move on. He was stuck still at the end.

I struggle with this so much. It's so, so very painful to watch. It hasn't given me hope. It's given me pain. And sadness. And I don't know how to deal with it. It's made the world feel more cruel, more awful, more distressing. And ... it may be true, but it hasn't ... helped.

This is the struggle I have with it. Much of it felt right. Much of it felt true. Much of it felt hard. But is that enough? What if I watch it and come away feeling more lacking in hope or faith or a sense of the future? Is its truth enough? Is seeing the truth of gay pain enough? I don't know if it is. I think I need gay hope. I think I need gay acceptance. I need to feel like the future is better.

And the death of the parents gave this opportunity to have Adam talk to his parents about his pain and get acceptance. And that was amazing. But bizarrely, telling that story of loss got in the way of telling the story of gay loneliness. And minimized it. And I struggled with that.

I have issues with it. But I think to some extent it's because I identified with it too strongly. It meant too much. And I feel like maybe that level of identification might not be possible for a straight person who didn't experience this period and time. I sometimes wonder if straight people are able to find a story of gay people experiencing awful pain somehow beautiful (like Brokeback Mountain) when all I see is the pain. When all I feel is the rawness. This felt like it was all about the rawness.

But the rawness and the pain is real too, I guess. Much as I wish it wasn't. And I've never seen a film that connected with me quite as directly as this one, or made me feel the pain quite as much. And here I am hours later obsessively writing about it.

And that's why it's getting such a high rating. How could I not? It spoke to me like no film ever has. But I can't give it a ten out of ten, because there's a shard of ice buried in my chest and a rawness to my eyes and a darkness to my future and this movie made me aware of them, but didn't take the pain away.

A Near Perfect Film on So Many Fronts

[brentsbulletinboard · 9/10 · 14 January 2024]

In a movie awards season that has had more misses than hits, it's gratifying to see one that not only lives up to, but exceeds, its potential. Such is the case with writer-director Andrew Haigh's latest offering, a heartwarming and heartbreaking story of love, reflection and healing all rolled into one. To say too much about the film would invariably lead to a plethora of spoilers, but suffice it to say that it tells a genuinely moving and touching tale of a 30-something gay Londoner (Andrew Scott) and his budding relationship with a mysterious new beau (Paul Mescal), an involvement very much influenced by the protagonist's relationship with his own past, most notably his involvement with his parents (Jamie Bell, Claire Foy). This is one of those pictures that's just about perfect in virtually every regard thanks to its stringent adherence to authenticity in the writing and the portrayals of its positively stellar cast, especially the highly underrated performance by Foy, whose role has puzzlingly been flying under the radar thus far. It's also a production that will likely surprise viewers in myriad ways, defying expectations and telling a story that's anything but apparent from what's in its promotional trailer. Moreover, I'm impressed by the fact that this is an offering featuring gay characters in which their sexuality is not the principal focus of the narrative, something that truly distinguishes this feature from so many others in this genre. Add to these attributes a sensitively chosen soundtrack and some surprisingly innovative cinematography, and you've got one helluva fine movie. To be sure, this is one of those releases that, if it doesn't touch you profoundly, you'd better check to see if you have ice water coursing through your veins. "All of Us Strangers" richly deserves whatever accolades it receives. It's one of the year's best, bar none.

Metaphysical Tearjerker

[evanston_dad · 8/10 · 9 January 2024]

Ok, I feel like I have to go back and watch this one again already after reading some interpretations of the ending. I feel like a dolt for missing the clues leading to the twist, and I feel like I would appreciate the movie much more on a second viewing.

But even with that, this movie knocked the wind out of me. Or at least part of it did. There are really two stories playing out in this film. In one, a man is able through some unexplained bit of magical realism to return to his family home where his parents, who died when he was twelve, are alive. These scenes are painfully poignant, and Andrew Scott gives a masterclass of acting as a man who is also still in some ways a little boy. A couple of moments with his parents, played well by Jamie Bell and Claire Foy, had me and the rest of the theatre I was in openly weeping.

The other story is the one that somehow went over my head, a romance Scott's character strikes up with a man living in his apartment building, played by Paul Mescal. I wasn't into this storyline as much, and would have been content if the entire film had just been about Scott seeking closure with his parents. But again, I also didn't catch on what was actually happening with the Paul Mescal storyline, so I wonder if I would like that part of the film more on a re-watch knowing what I know now.

If there's any justice in the world, Andrew Scott will receive some awards attention for this.

Grade: A.

I will never forget this film

[dakjets · 10/10 · 24 February 2024]

How on earth will I manage to find the right words to describe the cinematic experience this film gave me? (English is not my mother tongue) I still have to try.

I remember Liv Ullmann in a lecture talking about the film Persona. She said a movie doesn't have to explain everything to you. Give all answers. But instead give you something that you take with you and think about. Maybe after a while you think; aha, that's how it was! She also said that a film can change you, and give you new perspectives. I think that is a summary I can share with her about this special, beautiful and profound film.

For me, who also lost my parents at an early age, the film's message about loss and coming to terms with loss was right at the center of my heart. I have very rarely experienced such magnificent acting as Paul Mescena and Andrew Scott give us here. But I don't think the message would have been as real without Andrew Haigh's script and the lead actors. That these two actors and the film are not included in the Oscar nominations this year is shocking. They give it their all in this film, and take us viewers on a journey about alienation, loneliness and, not least, how to live on after great losses.

In addition to excellent acting, a strong message, Andrew Haigh has also provided excellent music, a journey back in time for me as a youth in the 80s. Rarely has the maligned pop music of this decade come into its own more than in this masterpiece.

I will never forget this film.

Loneliness, depression and coping with it all in such a beautiful way.

[malmevik77 · 10/10 · 16 January 2024]

All of Us Strangers

I am writing this review 6 hours after I watched it. I originally wanted to think on it more, but I decided that a raw response is necessary to such a raw film.

Adam, a screenwriter in London, is attempting to write about his parents who died before his 12th birthday in a car crash. After he evacuates his apartment due to a false alarm, he catches the eye of Harry, another tenant of the building. After initially rebuffing Harry due to his heavy intoxication, Adam starts to open up about his parents to him.

While this is going on, Adam begins traveling to his hometown where he discovers his parents, alive and well, but the same age as they were when they died. They immediately recognize him as their middle aged son, and spend the next several weeks learning about his life after their death while also discovering how he felt as a closeted gay kid in the 1980s.

Who would not want a chance to speak to loved ones who were taken away too soon? Wouldn't one also play and replay conversations that could never be? Adam even tells his mother about how he did that in the years after their deaths, while ironically speaking to a dead woman.

One of the main themes presented is loneliness. Adam was lonely as a kid who could not talk to his parents about either being gay, or about why he was being bullied. Adam was, and still is, lonely after his parents' death. He speaks of failed relationships in such vague terms that one wonders if he had any at all, especially after he admits to Harry that it's been a while since he's been intimate with a man. He continues opening up to Harry, allowing him to be taken out clubbing, dancing and sleeping over.

Another main theme reveals itself in Adam's mental illness, specifically in his coping with depression. He listens to old music from his childhood, specifically The Power of Love by Frankie Goes to Hollywood, shown in the film more than once. He tells stories of himself to Harry, who listens attentively and holds him at night during bad dreams. All the while, he sneaks off to his childhood home, where he continues to speak to his dead parents.

I admit that I had trouble writing the final paragraph of my review. The movie was already emotional throughout its entirety. What happens in the last few minutes completely changed everything. I can't write down what I'm feeling without spoiling the movie. However, I will write that the ending can only be described as stunning and beautiful.

Misperceptions...

[Cyraxote · 8/10 · 25 February 2024]

I'm posting this mainly dispel something that another reviewer posted. They said that the movie's timeline doesn't make sense, that the scenes with the parents were "supposed to be" in the early 2000s, but they looked like the 80s.

That would be because they were: "Always on My Mind" by the Pet Shop Boys came out in the fall of 1987, and we hear a DJ say that it's #4 on the charts in the Christmas scene. Also, when he's writing his script about his parents, the type says, "INT. SUBURBAN HOUSE, 1987"

Andrew Scott is 47. If we suppose that Adam is the same age, then Adam was born in about 1975. 1975 + 12 (his age when his parents died) = 1987.

A story of love, loneliness, and grief

[Not-Will-But-Still · 9/10 · 8 October 2023]

Had the privilege of catching this film early as it screened at the London Film Festival. I had high hopes after seeing the critics reviews and it did not disappoint.

The story follows Adam and his neighbour Harry, with whom he develops a romantic relationship with, as he deals with the grief from his parents tragic death when he was child.

The film cuts across genres. At times it is funny, sad, romantic, and even horrifying. It is a damning depiction of the loneliness epidemic among younger men while also dealing with the added challenges faced by those within the lgbt community in trying to fit in.

The chemistry between Scott and Mescal is brilliant, while Foy and Bell really hit the right note in their roles. The film is also beautifully shot and has a lovely palette of colours within.

It's a tough watch and left me with a lump in my throat for the entire final third, but it thoroughly deserves all the praise it has received so far.

9/10.

Tiresome

[cdjh-81125 · 6/10 · 26 January 2024]

After the insane amounts of critical acclaim this movie has been getting it's disappointing that I found it to be a bit of a slog when all was said and done. Don't get me wrong it is beautifully performed, these 4 actors perform all of their emotionally charged scenes to perfection and I certainly can't say that I never felt anything while I was watching it. I just found the whole structure of the thing to be so repetitive that it started to become frustrating very quickly. Andrew Scott might be amazing at playing this character's long, protracted stares but when that ends up being half your movie I can't help but find it eye rolling after a while. There's also a development concerning one of these characters that I predicted from almost the very first scenes. I'm not always hyper critical of predictability as long as what's being foreshadowed is right for the narrative. But when it becomes so obviously apparent what the whole thing is trying to say so early on I can't help but feel like it loses a lot of its effectiveness. Not a film I would call bad per say but its very clear that I didn't get nearly as much out of it as most people.

A film I could not wait for and that now I can't get out of my head

[bronsonhatch · 10/10 · 10 January 2024]

From the opening scene, involving Adam navigating his monotonous and lonely life, I could tell that I knew I would love this movie just for its characters alone. I relate to Adam in lots of ways and his arc throughout the film moved me to tears on multiple occasions.

I'm very thankful for Andrew Haigh and his direction. In All of Us Strangers and his previous works he employs very simple yet beautiful camera placement that makes it so easy to gaze in awe of it.

As for the story, I also loved every minute of it. I've already expressed my love for the quietness and melancholy of the opening scene, so I'll move on. When we finally meet Adam's parents it's very disorienting how well Adam plays along. He immediately accepts it and from that you can put together just how much he's been missing them and I thought that was sweet. Once his cycle of life has been punctured he tries his luck with Harry and it goes well. I found Their dialogue to be very true to the queer, or gay, experience. What I love most about Harry and Adam is that they feel like Authentic gay men that aren't trying to make a statement or that feel too one-dimensional. Which again I thank Andrew Haigh and Andrew Scott for bringing in their own experiences as gay men to further authenticate these characters. Paul Mescal plays gay very well. His and Andrew Scott's chemistry feels too good to be true I wish they would actually date. Anyway... As soon as we fell into the cycle of; during the day, Adam'll see his parents and during the night, Adam will be with Harry- I was a little concerned for what was left of the story but then we get this adorable transition of Adam and Harry going to a club. And what starts out very cute and fun, switches to this deeply traumatic and what I believe to be one of the most HAUNTING and Horrifying sequences of the year. I was hyperventilating. I'd trust Andrew Haigh to make a Horror movie next. And this scene being the bisector of the movie felt very apt. From this point on it's really only... cinematic Trauma. We get one of the saddest yet cathartic moments of film since last Years "Aftersun". And when we reach the final scene it gets so much sadder. The plot twist is apparently very controversial, but I found myself loving it (but I hate it for how petrified it left me).

No film this year has occupied my mind like All of Us Strangers has. A subdued, tactical, emotional vehicle of a film that left me speechless for hours. I watched it yesterday and it is still ever present in my soul. I loved it. 10/10. 100/100. 1,000/1,000.

A perfect film

[neomastanford · 28 March 2024]

I realised towards the end of this film that I was gasping for breath. I had to pause it several times just to catch up with all the feelings it was evoking.

Such a powerful and moving insight into self enforced loneliness and fantasising about what could have been. Themes of loss, love, memory, and time, handled and explored with such care. The intimacy captured so beautifully. I just know I'm going to be thinking about this film for the next few days, nothing has moved me like this in a long time.

Incredible performances from the two leads. Their ability to portray raw vulnerability left me dumbfounded at points.

Perfect soundtrack that complimented the sentiments of each scene. Just the right amount of tension and release. Beautifully balanced in terms of light and dark. A perfect film all round.

All of Us Strangers Review

[blueskyy_ng · 7/10 · 23 February 2024]

Whoever wrote this must have had some exposure to the chinese cultures. This is not a story about your next door neighbour, it's a ghost story, a purely fictional ghost story. What sets this apart from other ghost stories is that the protagonist is gay.

Lots of ghost stories were told like this, it's never made clear if it's real or imaginary. And that's the same with this story.

There's a chinese expression "xin li you gui (there's a ghost in your heart)" which means you're hiding something. The reason why they use the word "ghost" there is because it lingers around in your heart, and on your mind, just like a secret would.

Lots of the protagonist's emotions stem from his regrets and his loneliness, and his personality. In case you haven't caught on, he isn't your typical hollywood portrayal of a gay person (who is usually loud, obnoxious and perverted).

Ghost stories when done right, can be quite captivating. I particular like "The Haunting of Bly Manor", which is actually a love story masquerading as a ghost story.

One Powerful punch

[joebnow · 10/10 · 29 October 2023]

The film is a devastating look at one man's loneliness. Andrew Scott is giving a brilliant performance. With a simple facial expression, he can tell an entire story. He is one of the best actors around. (Scott, Mescal, Bale, Day Lewis -all great all non-American. Where are the great young American actors? But I digress..) Claire Foy is wonderful and radiant. Jamie Bell has less to do but is very effective in his scenes with Scott. Paul Mescal is excellent- when you can understand him! His first scene when Harry comes knocking on Adam's door needs subtitles! The powerful ending is simultaneously chilling, frightening, and heartbreaking. There's a couple of ways to look at it. But I leave that for the viewer to determine. Do not miss!

Another Sad Gay Love Story

[lwky1p302 · 6/10 · 25 February 2024]

Really enjoyed watching this film. It has a lot of great and therapeutic moments, and in fact even healing. As a gay person, I find it another sad story that I will regret watching ever again. There are way too many gay films and stories with no happy ending - even though this movie attempts to tie everything into a tidy, neat bow.

It could have had a happy ending just as easily as a sad one. The movie draws the viewer in and will over the years draw the viewer to watch it again and again. Hopeless to watch such a film repeatedly and wish for different results. Something that all human beings look for in a film that includes people like them. Very human and normalizing, yet sad. Maybe society as a whole will sympathize with the main characters and be able to forgive such that it exists in the first place? Come on! There can be something more positive. We can do better. Much better.

Wish I enjoyed this as much others!

[ta-98251 · 5/10 · 10 February 2024]

All of us Strangers tells the story of screenwriter Adam who has a chance encounter with Harry from his tower block during a fire alarm. What follows is an exploration of Adam's life, namely the impact of losing his parents at a young age and growing up with a secret that he withheld from his parents and those close to him. The story is told through Adam seemingly visiting his childhood home and speaking to his parents about the life he has lived as well as through present day conversations with Harry. The way this is portrayed may confuse some audience members.

The film touches on loss, loneliness, acceptance and grief. It's well acted and I enjoyed that the film was shot in a local London area that I'm familiar with. Seeing familiar spots, train journeys and local shopping centres was a cool touch for such a well-received film. I appreciate the film's themes however I wasn't as engrossed or touched the film as most films goers were which is a shame. It is one of those films where if it pulls you in, it will take you on deep ride but if it doesn't, it can become a bit of a slog due to its testing pace. This was surprising as it's was the first sub two hour theatre experience of the year but it felt just as long as most of the Oscar contenders. The cinematography was cool but there are many creative choices the audience may question. Ultimately it's a film I can appreciate whilst also admitting that I was never really invested in it nor did I particularly enjoy it. Have you seen it? Will you see it? What did you think?

"Don't let this get tangled up again."

[masonsaul · 10/10 · 27 January 2024]

All of Us Strangers is filled with beautiful lines like that which is one of the main reasons it's such an emotional film. Exploring how moving on is such an important part of dealing with a traumatic experience, and often the hardest part. It's designed to warm the heart almost as many times as it'll break it.

Andrew Scott portrays his character's sadness and quietness in such a natural fashion, making every emotional moment that much more impactful. Paul Mescal once again provides a charming exterior to hide his own pain and when he's with Scott their chemistry is ridiculously palpable.

Claire Foy and Jamie Bell are pretty much perfect at portraying 1980s parents. Everything from what they say to the way they say it feels incredibly accurate and seeing them react to the revelations of how times have changed since then leads to some of the most emotional heart to hearts.

Andrew Haigh's direction excels because of the tenderness. There's so much time put into showing the smaller yet vital parts of the growing connection between everyone and the lighting imbues everything with a stunning glow. The soundtrack is full of ideal choices but the final song is particularly devastating.

I came to find you

[justahunch-70549 · 10/10 · 23 March 2024]

I am really at a loss how to accurately review this film. I'm not really sure that there is an accurate way. I can say one thing assuredly. It's not what I expected. I'm also sure that the acting is wonderful especially by Andrew Scott in the lead followed closely by Paul Mescal. It is also beautifully made and photographed, but just exactly what is it?! This is a four character film and it is some sort of ghost story, but who is alive and who is not? Clearly Scott's parents (beautifully portrayed by Jamie Bell and Claire Foy) are deceased as they were killed in a car crash when Scott's "Adam" was 12. That does not prevent these two from being a part of Adam's current existence. The question I ponder is whether Adam is alive, deceased or in the process of dying, but no matter what scenario I can come up with, I find logistical flaws. So many oddities and peculiarities. The credits begin with the London skyline completely dark except for one large building that increasingly glows brighter and brighter until there is a gigantic explosion. It is possible that this may be either the beginning or the end of this story. Shortly after the film begins Adam & Harry's (Mescal) building's fire alarm goes off for reasons unknown and they seem to be the only two occupants in this enormous property and it is how they meet. Just prior, we first see Adam alone as he is beginning to write a screenplay about his early life in 1987. We then find him on a train to his childhood home and meets his deceased parents who are no different in any way than when he last saw them and doesn't seem terribly shocked or even ask them how this is possible. They don't seem to have any memory of their own deaths, though they know they did die. Neither Adam or Harry have friends. One has deceased parents, the other is alienated from his. The tragic strangeness and pain surrounding Harry later in the film is too revealing to write about even with a spoiler alert. So many questions that are never answered, but I'm not sure answers are part of the game plan here. Again, this is a ghost story of some sort, but it is also a heartbreaking love story between these two men. The relationship between Adam and his parents is fascinating. The relationship between Adam and Harry is as well. There is so much here I that I have to force myself to stop writing. I've seen it twice now and it affected me more the second time. As draining as some of it is, I'm sure there will be more times. It is mesmerizing and unlike any other film I can think of. Bravo also to the established music effectively used.

Dreams are like angels -- they keep bad at bay

[TheVictoriousV · 8/10 · 31 January 2024]

All of Us Strangers is one of the most tender love stories put to film in recent memory and a frightening number of people will choose not to see it because it is a gay one at that. Just thought I'd disclose this aspect upfront so that only the worthy stick around for this read. We good? Good.

Directed by Andrew Haigh (45 Years) and based in part on the Taichi Yamada novel Strangers, this movie tells of a reclusive London-based screenwriter named Adam (Andrew Scott of Fleabag and Sherlock) who lives in an all-too-quiet apartment building where the only other living soul appears to be the oft-drunk Harry (Paul Mescal of Aftersun), who begins to act flirtily towards him. As you may have guessed, the two eventually bond and fall in love, even as Adam finds Harry a bit mysterious at first and, partly due to what he was taught re: sexuality as a youngster, isn't as comfortable with intimate touch -- initially.

Sheila O'Malley put it best when she wrote that All of Us Strangers, almost immediately, has a "surreal, almost supernatural atmosphere". I don't know how much I ought to give away, but I can tell you it's not for naught. When I say that the apartment building seems strangely quiet, I mean it seems almost unearthly; it is no surprise that the posters make use of the almost entirely dark building where only two windows are lit up -- it is an image that sets the tone.

All the same, love is discovered in this setting (this connection, taking place in an eerie realm where connections at first seem impossible, recalls 2015's Anomalisa in a lot of ways) and it isn't long before our hearts are grabbed and then broken. This oft-surreal film is nonetheless very much, devastatingly real.

Adam is also troubled by thoughts about his parents (Jamie Bell; Claire Foy) as he keeps revisiting his (ostensibly) abandoned childhood home. He has a series of dreams (or are they dreams?) where he goes through the conversations he wishes he'd had -- the sort of conversations that frankly a lot of people, be they gay children of traditionally-minded parents or not, wish they'd had with their folks; the sort of conversations we typically don't get around to before it's too late, resorting to having them in our heads, sometimes in the form of revisiting moments and trying against all logic to rewrite them.

These sequences exemplify some of the best and most emotionally honest acting of the past year. It is one of those films that make you realize how good other films aren't, particularly those of the romance variety that too often settle for tried routines and formulas while rarely doing anything stylistically intriguing or letting the actors be truly vulnerable. (I'm aware, painfully so, that that's what the crowds want; the statement I heard from a rom-com fan in high school, that "film is about hot people and satisfying endings", still echoes in my mind.)

On a similar note: as many viewers of British/English cinema will point out, this one sticks out with its artful compositions (note especially its usage of mirrors and windows), dreamlike editing, deliberate color choices, and occasional magical realism. This isn't a first or anything, but it seems we often associate English film with gritty realism -- think This is England or Billy Elliot. I assure you, though, that the English are quite capable of outstanding visual communication. There are edits and framing/blocking choices in All of Us Strangers that cut even deeper than that one "reveal" in 45 Years. If you know, you know.

Oh and of course, as a long-time fan of Frankie Goes to Hollywood, I can't forget to mention how the film uses their 1984 album Beyond the Pleasuredome, particularly their best song "The Power of Love", as a reoccurring motif; a devastating one. The music video is also referenced, in ways I cannot reveal here. Best you go see this wonderful picture before I say too much.

And remember: let yourself be beautiful.

An incredible Andrew Scott acting masterclass in tragedy

[davidobrien1995 · 8/10 · 20 November 2023]

I saw this at the Cork International Film Festival, so seeing 2 Irish leads like Andrew Scott and Paul Mescal performing as they did was a tantalizing factor for me and those watching.

The film brilliantly captures one man's complex processing of grief and loss, with the protagonists particular story holding different factors for viewers to latch on to. It is a raw watch, which touches on the themes of loss, pain, and love.

The 2024 awards season should look favourably on Andrew Scott's performance in this film. His portrayal of this mans intriguing, yet sensitive approach of coming to terms with such tragic events in his life could not have been played better by any other actor. An enormous amount of credit must to go Andrew Haigh's directing and writing, who produced a flawless ensemble to play off of a script where every scene and word was situated perfectly.

Poignant and ethereal exploration of a writer's subconscious

[gortx · 5 January 2024]

Andrew Haigh's ethereal new film ALL OF US STRANGERS plunges us deeply into the subconscious of its main character, Adam (an excellent Andrew Scott), a writer living in a huge desolate apartment complex.

A chance encounter with another tenant (the only other one?) Harry (the equally fine Paul Mescal), sets his mind racing. Adam finds himself traveling back to his childhood home where he visits his parents seemingly locked in time. While full grown himself, his parents are as they were thirty years prior. Sensitively played by Claire Foy and Jamie Bell, his mum and dad greet him warmly yet are a bit wary about Adam's lifestyle. That is being gay and single.

Haigh, who adapted Taichi Yamada's novel for the screenplay, takes a metaphysical approach to the story, but never loses track of his quartet of main characters. The 'Twilight Zone' aspects never intrude on the personal tales - they gently amplify them. The performances are all exceptional with a delicate scene between Foy and Scott being one of the most astonishingly touching in some time. The scenes between Mescal and Scott are palpable, and Bell has a glow about his persona here that hits just the right notes.

Jamie Ramsay's exquisite 35mm cinematography works in unison with Jonathan Alberts' editing rhythms and backed by Emilie Levienaise-Farrouch's gentle score. Haigh orchestrates ALL OF US STRANGERS with empathetic grace. It's a paean to loneliness and wanting, and a lovely one at that.

Focused entirely on loneliness and unreality

[steiner-sam · 7/10 · 21 January 2024]

It's a movie about loneliness over several weeks in current times, and based in London, England, and a town perhaps an hour's train ride away. Adam (Andrew Scott) is a 40-ish screenwriter in London who lives in a new highrise building on the 27th floor. He is gay but not in a relationship. The building's only other occupant is Harry (Paul Mescal), who lives on the 6th floor. One night, Harry comes to Adam's door with a bottle of whiskey; Adam declines the approach. He pulls some memorabilia from under his bed and reflects on his past.

We learn his parents died in a Christmas auto accident before Adam was age 12. He travels to visit the house in which he lived until his parents' death. Later, he sees his father (Jamie Bell) in a store, and his father invites him home to the familiar house. His mother (Claire Foy) is overjoyed to meet him.

The film then follows Adam's initiation of a gay relationship with Harry and several visits with his parents. At one level, he knows his parents are dead, but he comes out to them about his orientation, and they comment on their failings as parents. Adam's relationship with Harry progresses, and eventually, he releases his parents to the past. A twist at the movie's end upends all we have seen before.

I'd love to know how closely this film follows the book. "All of Us Strangers" is an apt title for a movie focused entirely on loneliness and unreality. Scott, Mescal, and Foy play their roles well. Some relationship scenes with Adam's parents are powerful, especially between Adam and his mother. For me, the director was too in love with close-ups. I thoroughly disliked the ending that drained the film of hope in my mind. And with that, what's the point?

Incredibly powerful

[riskoteevie · 9/10 · 24 March 2024]

Nothing could've prepared me to watch this film. I've never seen a film that says so much while still being incredibly quiet.

Andrew Scott absolutely knocks it out of the park with his devastating performance. It'd probably one of the most gut wrenching and realistic portrayals of grief and loneliness I've ever seen in a film, even though his situation isn't exactly grounded in reality. He does an absolutely exceptional job making you feel everything Adam feels: from uneasy happiness, to enamouredness, to melancholy, to desperation, to alienation, to fear, and to absolutely soul crushing grief. He manages to do all of this without his performance being too over the top, just a few subtle facial expressions and changes in his voice. How he wasn't nominated for an Oscar is beyond me; he easily should've won.

Speaking of Oscar snubs, Andrew Haigh deserves so much praise for this film. His direction and writing is impeccable. In the hands of any lesser director, this film would just be a soulless tearjerker with nothing to say. Haigh has made a career out of making painfully real films with characters you'd be forgiven for not realizing were fictional; this film is definitely no exception. The characters he's written for this film are all compelling in their own unique way, even though everyone except Adam is a hallucination or a ghost. The way he unfolds this story is also genius: of course, you basically know from the beginning that Adam's parents are most likely dead at this point, but the ambiguity of how and why Adam is seeing them keeps you interested until the very end of the film, and all that is merely a distraction for the real twist which you could argue is not even a twist at all (Again, this Haigh keeping it ambiguous is part of what makes this film so good. Harry's death is still the real question that the audience should comtemplate; the parents were a sort of red herring.), that Harry's been dead this entire time. Now, you could argue that Harry simply just killed himself and was real up until the ending, but the way the dialogue is presented in the ending makes me believe that Harry was just another hallucination/ghost, of a lover that Adam had lost some time ago, but even still, the fact that both these possibilities and more are plausible is part of why Haigh's writing is so good. The dialogue in this film also accomplishes something rare: it's down to earth and human in all the best ways, with all the little awkward laughs, small talk, and heartfelt, quiet moments that come with it. The dialogue also keeps us guessing what's really happening: whether it's all in Adam's head, or Adam's being haunted by the ghosts of those he's lost, or a bit of both, as each line seems to support different theories. The cinematography in this film is unsettling in all the best ways: clearly Haigh and his DOP knew exactly how to approach all the somber emotions being presented in this film, from scenes shot at strange angles to convey Adam's melancholic happiness, to tracking shot scenes that bring us into the subjectiveness of Adam's experience by closely following him, creating a sense of empathy in the audience. Overall, Haigh is at the top of his game here, and I can't wait to see how he outdoes this; if he even can.

This film is possibly one of the most moving explorations of grief, loneliness, and love I've ever seen. Haigh clearly had a lot to say in this film, but ultimately, he leaves it up to us to decide what it all means. You could see the ending as tragic, interpeting it as Adam relapses back into a fragile state of denial upon seeing Harry's dead body, or you could see it as an optimistic ending, interpreting it as embracing how much Harry meant to him and how much he misses him, in a parallel to the milkshake scene with Adam's parents just moments before. Regardless of how you view the ending, Haigh's ultimate lesson seems to be not to dwell on the losses we have suffered, not to move on and forget about them, but to recognise how much we valued them, and grow from our coming to terms with it; so whether you see Adam's story as a cautionary tale or one of inspiration, that's the lesson.

In conclusion, this film is absolutely spectacular. I'll easily add it to my list of my all time favourites.

Intimate love story and family drama

[katharinaruiss · 7/10 · 29 October 2023]

An intimate portray of a grown man who struggles with the loss of his parents during a car crash. Besides the protagonist, it shows that he falls in love with his neighbour, who also has a struggling family story. It is a very deep and subtle love story between two guys who fall in love with each other. Although I liked the intimate scenes a lot which were also very sexy. It seemed a bit forced, that his partner/neighbour also died in the end. I did like the beginning especially, the confusion of him seeing his young parents and him having fever dreams and often switching between his real life and his imagination.

But apart from that it did not have something original in it or unexpecting. I would have wished for a better ending.

Always on my mind is now one of favorite songs!

[UniqueParticle · 9/10 · 25 January 2024]

How is this not nominated for Oscar's is a major snub! One of the sweetest films about a gay couple and haunting vibes mashed in so well. Andrew Haigh directed All of Us Strangers with great ambience, wholesome sensations, and charm; it's a shame it's not a more known movie from numerous people I've mentioned it too. I love how the first half is tranquil, the rest is somber it will hit you with plenty of feels. Andrew Scott and Paul Mascal seem down to earth I'm sure they are a delight to be around. So glad this has a 8.1 rating on IMDb that's very well deserved and I hope more find out about this lovely drama overtime.

Not great, not terrible

[milosmilanovic-88314 · 6/10 · 24 February 2024]

A sad, depressed, practically orphaned gay writer guy (there's probably more than 12 people on the planet that can relate to this very specific character setup) decides to write a novel about what he would tell his parents if they were alive. He is depressed, cries a lot, and he "is not rich", but his awesome apartment with a spectacular view is spotlessly clean all the time, and he never has to do any actual work. The movie presents his imaginary conversations with his parents as if they are literally happening in his old house.

He then meets his neighbor, another sad, depressed gay guy who hits on him, but he rejects his advances. However, he immediately regrets that decision and tries to rectify it the next time they meet in the elevator, but it's too late. Not being off the quitting type, he writes/imagines a relationship with the neighbor anyway.

At the end of the movie, he takes his imaginary dead parents to a shopping mall, orders three milkshakes, has an epiphany, decides to give the neighbor one more attempt, but instead of happiness, finds a rotting corpse in the neighbor's apartment. The neighbor has been dead since the scene in the elevator. Being a nice guy, he imagines/writes an ending for the neighbor, and they all end up as lonely stars in the constellation of strangers.

The conversations with his parents and the neighbor are ok, the movie has good pacing, cinematography, and soundtrack, and everyone involved has a really good performance.

However, the movie is also boring, there are no real insights or layers, it's a mediocre, boring story with instantly forgettable characters, packed in a good production and acting performance. It's ok to watch, but you'll forget about it the next day.

Dumb, Melodramatic, Pointless and Affected

[brady-235-381799 · 3/10 · 24 January 2024]

I am not sure what the rest of the 31 reviewers watched, but it can't be the same movie I just dragged myself through. Toward the end I leaned over to a friend and whispered, "If he's been dead and rotting on the bed the whole time, I am done with this move," and voila. Here we are.

I will make one point: gay men are not destined to be miserable, alone, addicted and sad, so I wish we would stop making movies that always have these miserable endings. It is not to say there aren't problems that make a big impact, but to say that, yes, we can be over come and have happy endings in our lives. End.