What an absolute pain it’ll be when the earth and its atmosphere decide to collapse in on themselves. Hopefully, there are no reviewers knocking around by then, those oxygen thieves will be particularly damaging to the air supply left over. Still, speaking of futile ventures, Vesper provides a few sparks of light in the “new dark ages” that come from the horrors of genetic technology. Make it clear that it is not quite like Terminator or anything to do with the horrors of ecological struggle, but a unique entity in its own survival right that Netflix or some other, smaller independent chain frequently offer up. They all blur together after a while, but this one has a flying android equivalent of ED-E from Fallout: New Vegas.
For directing duo Kristina Buozyte and Bruno Samper it is more about looks than enhancement of the genre. Play with what is already there, open with something that looks like the aftermath of the Somme and power on through. With some genuinely unique moments that feel like Tideland meets Spiderwick Chronicles, the initial appearance of Richard Brake holds within it something exciting. There is potential to Vesper, and it is unfortunately not realised. Many of these modern science-fiction features that hope to play with the futility of the environment and the need to escape from it, are fairly ham-fisted. They are because it is a pertinent message. But it is also one that leaves no room to impart any wisdom or courage. Vesper is a cowardly piece because it hides behind a veil of intrigue.
What it does gather is character design and perspective for a world that feels inherently doomed. What it does not gather is that to mark a fundamental interest in that there needs to be some hook, some moment that occurs within that presents a danger or provides a possibility. Instead, the doomed souls wander and most of it is through abandoned, rusty places that would not seem out of place in a small village somewhere in the middle of nowhere. It feels a tad similar to Nostalgia in its aesthetic of rural beauty, but Vesper fails to contend with the lack of heart within. Raffiella Chapman is at least a solid lead. It is a lot to ask of a performer to contend with the throes of a doomed world, but Vesper throws the Infinite alumni in at the deep end to see if they sink or swim.
Thankfully they swim and they form some of the best parts of Vesper. Eddie Marsan enjoys some more brutal moments, something he appears to be co-ordinating in these recent years. Gone are the passive, bumbling qualities that steered him through The World’s End, his tense presence here and his sweary support in The Gentleman have been a fine run of form. For Vesper, he helms a series of people that look like they are filled with radiation. Citadel this, seeds that. It is unfortunate that little is fleshed out of this science fiction, especially when the special effects, the moments of tension and the performances at the heart of this, are working so hard to hold it together. Everything feels run down, from the rustic, muddy setting to the pieces that push together to create nothing too spectacular. Vesper has the feel of a lot of different movies but fails to chart a unique voice.
