The result is a “What if?” exercise that ultimately doesn’t take its starting premise to any place that’s terribly interesting. The more interesting existential debate this triggers represents a direction too briefly taken to really deepen “Bokeh,” which in any case soon trundles on toward a less-than-satisfying fadeout, with all narrative mysteries left dangling. It’s notable that when the duo finds it might not be alone, after all - something that would invariably spell terror in a different kind of movie - the discovery offers scant comfort. Not unlike Burgess Meredith in the famous “Twilight Zone” episode where a voracious reader finds he’s got “all the time in the world” and an open library after humanity likewise vanishes - only to break his reading glasses - here, we’re stuck for eternity with two perfectly decent people who, it seems, just aren’t very interesting company. We never even glean how serious they’d be about each other if life still offered other prospects. But surely they must have backgrounds, interests, and aspirations - none of which the film bothers to express. Admittedly, the characters are still young. What the script does not do, rather oddly, is lend those protagonists much depth or personality, though the performers themselves are attractive and personable enough. The co-directors’ screenplay is not high in incident, but it does move along briskly, taking advantage of picturesque settings inside and (increasingly) outside of Reykjavik, as our protagonists have a ready supply of vehicles, gas and time at their disposal. (This will also be a likely issue for viewers.) She can’t accept whatever has happened, or their own mysteriously survival, with no apparent purpose or meaning to it. (They’re spared immediate logistical hardships like failed electricity or heat, because Iceland’s energy systems are geothermal-powered - and while animal as well has human life seems gone, Mother Nature is otherwise carrying on as usual.) But Jenai longs for home and family.
“At least we’re here together,” Riley says, and for a while they’re able to amuse themselves with hedonism and consumerism that no longer knows monetary bounds. All human activity has apparently ceased, sans corpses or any other proof of disaster to explain it.
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TV stations have gone off air the internet has remained stagnant since the prior evening. But then it turns out that even the folks back home aren’t answering their phones. At first they assume the populace has been drawn away by some holiday event, or an emergency evacuation. Cars have seemingly been abandoned in the streets shops are unlocked but empty. But one morning after Jenai witnesses some odd lights in the sky during the night, they exit their hotel to find no one around… anywhere. At first they behave like any other tourists, seeing the sights in town, eating out, going on guided walks, etc. Iceland is the place that young American couple Jenai ( Maika Monroe) and Riley (Matt O’Leary) have chosen for their vacation, which is also her first time abroad. Nonetheless, they’ll be held to a degree by the film’s concept, confident execution, and use of beautiful Icelandic locations. Light on plot and explanation, while not perhaps so deep as it would like to think itself on a philosophical plane, this minimalist drama is bound to induce a parting “What was that about?” shrug from many viewers. Why that title? You might as well ask why the central figures here wake up one day to find themselves seemingly the last people on Earth no answer will be forthcoming from this first feature from Geoffrey Orthwein and Andrew Sullivan.
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