Vesper

It’s inventive and atmospheric, just not entirely coherent.

If you are going to see one post-apocalyptic, low-tech French-Lithuanian-Belgian film in English this year with Eddie Marsan as the heavy, make sure it’s this one.

A dramatically uneven but imaginatively vivid feat of post-apocalyptic world-building that flips the script on so many other stories like it.

For a small indie sci-fi movie, the special effects are stunning, and the world is incredibly well-realized.

Vesper commands viewers’ attention because of its exceptionally well-realized costume, sound, and production design, as well as some well-utilized, Cronenberg-icky creature and special effects.

Vesper is a compelling cautionary tale about our precious ecosystem where the eye-pleasing scenery isn’t gorgeous for its pristine looks, but tragically beautiful in its rotting textures.



For something a bit different to your usual blockbuster sci-fi fare, try Vesper. It feels small, earthy, contained to a handful of locations, without the overdone pontificating grandeur.

Chapman, who spends significant portions of Vesper on her own or with only Darius' drone prop for a scene partner, proves a worthy lead.

The film's storyline is stretched thin at a few points, mostly because all of it takes place in this post-apocalyptic forest and they have to figure out how to give her something to do and local baddies to confront before she ventures out.

The movie creates an astounding world to look at, and it smartly doesn’t try to explain every strange detail.