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Die Alone

Die Alone

Horror · Thriller · Science Fiction · 2024

Lost in a world reclaimed by nature and overrun by mysterious creatures, Ethan, a young man with amnesia navigates the dangerous landscape in search of his lost love Emma. His journey takes an unexpected turn when he encounters Mae, a hardened and eccentric survivor. Together, Ethan and Mae face threats both human and otherwise before a fateful encounter with Kai unravels a secret that lies just beyond Ethan's fractured memory.

Movie details

Die Alone

“Bodies die. Love survives.”

2024 Horror · Thriller · Science Fiction 1h 31m

Critical arithmetic

One number, for now.

TMDB

6.3 / 10

Community rating

Lost in a world reclaimed by nature and overrun by mysterious creatures, Ethan, a young man with amnesia navigates the dangerous landscape in search of his lost love Emma. His journey takes an unexpected turn when he encounters Mae, a hardened and eccentric survivor. Together, Ethan and Mae face threats both human and otherwise before a fateful encounter with Kai unravels a secret that lies just beyond Ethan's fractured memory.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Die Alone?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Lowell Dean

Written by

Lowell Dean

Carrie-Anne Moss

Carrie-Anne Moss

Mae

Douglas Smith

Douglas Smith

Ethan

Frank Grillo

Frank Grillo

Kai

Kimberly-Sue Murray

Kimberly-Sue Murray

Emma

Jonathan Cherry

Jonathan Cherry

Tom

Amy Matysio

Amy Matysio

Jolene

Steven Roy

Steven Roy

The Wolf

Court is in session

Put Die Alone on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Popcorn Loyalist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.