The Vast of Night (2019)

Opening with long mid-shots and seemingly unnecessary chatter, the film spends a few minutes delivering a kind of challenge along the lines of “Alright, let’s clear the floor of the kids and make room for real cinephiles—no need for unnecessary expectations!” Then, without almost a single dull moment or idle dialogue, it unfolds into one of the finest examples of contemporary independent cinema. In line with Tarantino’s motto that “suspense is all about stretching the rubber band,” the director masterfully delivers even the potentially boring static monologues, truly deserving praise. The fact that it rarely strays into cliché territory earns it extra points, too! That it unfolds in real-time and takes place within the duration of a basketball game is just the cherry on top!

A throwback to the radio plays of old. The title is perfect, as it sets the exact mood for viewing. With the modern world getting brighter and more interconnected with satellites filling the sky, true darkness is disappearing. This film takes us back to a time when a few unusual happenings can shift your entire world view, when what we know to be true, just ain't so. Things like this don't get made very often, but because of the streaming wars hunger for content, we are lucky enough to be able to enjoy this. Solid overall in basically every aspect, but with nothing exceptional; which is a plus, as what I remember most is the truly unique feeling I was left with in the end. This is a watch for quiet evenings when you're feeling confident and want a reminder on just how vast the unknown is. Be able to dedicate your full attention to it, with headphones or surround sound - immerse yourself. It's unsettling in the best way.

The Vast of Night (2020) is a spiritual successor to Orson Welles’ War of the Worlds broadcast. This film understands the power of the spoken word (its heroes are a late night DJ and a phone operator), and puts it to great use to tell a fascinating story that relies more on the viewer’s imagination than on visual effects. This is the rare low-budget ($700,000) sci-fi flick that doesn’t strive to mask its technical shortcomings with a layer of shoddy CGI, instead focusing on a character and dialogue-driven plot. This is not a cheap movie, but an economic one — austere, even; a ‘less is more’ approach that turns at times into 'nothing is better.’ Co-writer/director Andrew Patterson isn’t trying to convince us that his aliens are real, but neither does he expose them to unforgivably prying eyes; sticking to the Lovecraftian definition of fear, Patterson wisely makes them conspicuous precisely by their absence (only at the very end do we see the outline of a spaceship, a convincing shot not least because it takes place under cover of night). The Vast of Night works because it isn’t about the visceral horror caused by a monster from outer space as it is about the psychological terror of the unknown — what we can’t see but sense is there, lurking in the dark, watching us.