The Vast Of Night

* * * 1/2

Sometimes something wonderful comes right out of left field. Andrew Patterson, an Oklahoma-based local commercials producer, self-financed and began shooting The Vast of Night, an homage to the kind of giddy, upbeat, weirdo tales you’d get on The Twilight Zone, in 2016. Supposedly rejected by eighteen film festivals before premiering at 2019’s Slamdance, winning the Audience Award, and now available on Amazon, his über-indie “look to the skies” fantasia is a precise little gem, exquisitely conceived.

It’s the 50s, in a small town in New Mexico, on a Friday night, and while the town-folk are all attending the basketball game at the high school, the local radio DJ (Jake Horowitz) and the town’s switchboard operator (Sierra McCormick) stumble upon the possibility that extraterrestrials are hovering in local skies.

Patterson makes big choices and commits to them whole-heartedly. His film is ingeniously paced and structured, alternating bustling whip-crack dialogue with quiet, expressive monologues, and long single close-ups with the film’s most thrilling and virtuosic stylistic gambit, pulsing sequences sending the camera zooming at knee-height throughout the town to the gorgeously evocative score. Essentially, Patterson is constantly alternating stillness with frenzy, and it makes his ninety minutes feel like fifty.

There’s an awful lot of Spielberg in Patterson’s tale (as there was in J.J. Abrams’ Super 8) and cynics may dismiss The Vast of Night as that 90s relic, the ‘calling-card film’. I don’t see it that way; rather, as one Oklahoman’s magnum opus, a pure work of passionate personal art made entirely outside the system, entirely to its creator’s tune, and entirely to their credit.