What makes it different from others?

Gripping story with well-crafted characters

Absolutely amazing

A very feeble attempt at affirmatie action

I happened to come across Alarm last week just on account of actor Aidan Turner's current popularity, having never heard of this film before. A very good one, pity it was not promoted more actively though, I guess no one outside Ireland or probably Britain - like I am - has ever heard of it.I do not think this is the kind of film that can reach out to everyone though. Not much for a young audience anyway. The protagonist's post-traumatic stress or a burn-out is one part of the drama. She has no rare condition, she is not a freak, she is a common girl in a vulnerable state, like so many others. Though, it seems, at the wrong place, time and company. Or are they wrong really? The other part of the suspense is brought about by a very subtle development of events that keeps you tense from the start to the end. One has to be observant as nothing is served ready. At some points you might need to revise all your original hypotheses. I needed to watch it twice to get some things clear. The end is neither open nor illogical, contrary to what some comments say.Apart from the plot, it is the acting that makes this film. Everyone in the cast delivered a great performance. Nothing was too much or out of place, under the circumstances of the plot. I loved it all!A few words about the picture quality. I am not sure if it was intentional or not that some indoors scenes were too dark - some found it unskillful of the cameraman. But I thought it was just right for this story. It felt more like the viewer was lead to empathize with the characters' emotional state of mind rather than to scrutinize certain technicalities.

No, it wasn't a perfect movie, but excellent for rather realistic suspenseful drama. It was so realistic suspenseful I almost turned it off near the beginning. Do I a single woman want to watch a movie about bad things that happen to another single woman, sort of thing. But by the end of it, I was left with appallingly little information. Who were the bad guys? Who were the good guys (if you could call them that)? And what really happened to Scruffy? But more than that, what form of mental illness does this film depict ... in all of the characters?I won't watch it again, but I imagine I'll be thinking about it a lot in coming days.

I rated it 2, but still, before seeing it, Netflix viewers gave it a little over 3 out of 5 and it was predicted it would be on a 2.9 scale out of 5 for me.But either way, I watched it, looking for a suspense film and hoping this would be it. It sadly is an extremely boring film with very, very little suspense. It is quite possibly more of a black comedy than anything, but boring at that. This movie, almost 2 hours long, really good have been made into a short movie, 30-45 minutes long and cut out the boredom. I understand how sometimes movie lag in certain points as there is plot development that must occur, however, the spans of nothingness in this movie were not filled with plot development, but instead filled with . . . well, nothingness.Acting in the movie was actually quite good and I think considering what they had to work with, nearly every actor in the film did a great job.There is certainly no thought provoking intellect at work in the storyline, the musical score was non-existent and the movie ends in a certain kind of humorous frustration at the waste that just occurred.Spare yourself on this one, read a few reviews and the watch the film in fast forward. You will get the gist of the movie and be better off.

By now, whether we've been to Ireland or not, we know from the cinema that the suburbs are adrift with identikit mcmansions. Cynical Irish dramatist Gerard Stembridge chooses this locale to place an intriguing parable of trauma and the disassociation and neurosis that results from it.On the surface, "Alarm" looks like an almost banal mystery: Molly, having been the victim of a home invasion that resulted in her father's death, moves out to said suburbs to "get away" from the madness and regain her life. She throws herself into a ready-made relationship with an old school flame who she runs into at her housewarming. Almost immediately after occupying the chic new place, break-ins start occurring. Benign at first, then gradually becoming more aggressive, repetitive and sinister. They're not random, the cops surmise...there's something "personal" going on. A vendetta perhaps.Quite possibly, considering Molly stole the house from another interested party at the eleventh hour, paying a premium to a slimy real estate broker who turns up beaten to a pulp days later. Or is it her new beau, who seems to appear and vanish at all the right moments? Or even the two elderly friends of her father, who took Molly in after her dad's murder, and now can't bear to see her go? All this is really secondary, however, to what Stembridge may be getting at: as much as Molly wants to start over, she seems trapped in a maze of neurosis and contradictions between what she wants and her idealistic picture of what she thinks she should want. She wants interaction with others on her own terms and then isolation and anonymity when it's not convenient. She's the perfect tenant for suburban zombie-ville but doesn't want to admit it.Stembridge and Ruth Bradley and Aiden Turner (as Molly and her hunky Irish stallion Mal) do an effective job at ratcheting up the tension and offering a virtually hopeless situation: the alarm Molly eventually is backed into purchasing (she resists it a long while for the Reality and bad memories it symbolizes) becomes as much an instrument of torture as the break-ins themselves, an almost Pavlovian realization of her instability. The level of hysteria and helplessness in these sequences reminded me favorably of John Carpenter's strongly affecting TV suspenser "Someone's Watching Me" from 1978.The ending to Alarm is going to irritate a vast majority of viewers who aren't looking at it in any other terms but a whodunit. The real puzzle Stembridge seems to be presenting here, though, is not Who Done It but What It Truly Implies About Us To Whom It's Been Done.