Almost Us Review: Simple Yet Watchable!

Almost Us is a LGBTQ+ romantic comedy that places character presence above narrative spectacle. Directed by Anthony Bawn, the film operates within a spatial framework, focusing on intimacy, conversation, and internal conflict rather than heightened melodrama. Set against the backdrop of Phoenix and its threatened cultural spaces, the film attempts to balance romance with community politics, positioning itself as both a personal love story and a commentary on identity within public life.

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The narrative follows Jay, a confident community organizer, and Darren, a closeted real estate developer living a carefully curated double life. A chance one-night stand evolves into something more complicated when their professional worlds collide—Darren’s firm plans to demolish a cultural center that Jay is actively fighting to protect. The film structures itself around this collision of desire and duty, allowing personal attraction to clash with moral responsibility.

The undeniable strength of Almost Us lies in Anthony Bawn’s performance. He is not just the lead actor but the emotional engine, center, and soul of the film. Bawn brings an effortless charisma to Jay, infusing the character with swagger, humor, and warmth. His screen presence is magnetic—he is funny without forcing it, witty without leaning into caricature, and emotionally open without tipping into melodrama.

Every scene he occupies gains energy, and his naturalistic delivery makes dialogue-heavy exchanges feel lively and engaging. Even when the film slows down, Bawn’s performance ensures it never feels dull. The story itself is simple and serviceable, but it remains consistently watchable, largely because of how compelling he makes Jay’s emotional journey.

Where the film begins to falter is in the execution of its thematic ambitions. Almost Us clearly identifies its core ideas—legacy versus progress, closeted identity versus authenticity, and the tension between personal desire and communal responsibility. These themes are present and articulated, but they rarely land with sustained emotional or narrative impact.

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The screenplay gestures toward these conflicts without fully dramatizing their consequences. Scenes often resolve too cleanly, and emotional beats that should resonate more deeply tend to pass without leaving a lasting imprint. Even the major twist toward the end, while surprising in structure, lacks the emotional aftershock needed to truly linger. It shocks in the moment but doesn’t echo beyond it.

Overall, Almost Us (2026) is a well-intentioned and a decently crafted indie film elevated significantly by Anthony Bawn’s star-making and charismatic performance. While its thematic execution doesn’t fully match its conceptual promise, the film remains engaging and sincere. It may not leave a lasting emotional mark, but it succeeds as a character-driven romance anchored by charm, clarity, and a strong central presence.

‘Almost Us’ Rating – 2.75/5