Observer by Rex Reed

Beautiful and challenging, Bokeh has a pristine look and chilling feel of its own that contributes enormously to the mood and tone of the whole film.

RogerEbert.com by Nick Allen

Only worthwhile storytellers could take an elevator pitch like this one (the last two people on Earth) and produce long-lasting curiosity about its inherent beauty and horror.

Village Voice by Alan Scherstuhl

Toward the end, the filmmakers relent on all the grieving sightseeing and offers up a couple plot developments, plus colloquies on matters geo- and theological. None of this proves as arresting as Iceland’s cliffs and horses, or those first moments of a city depopulated.

The Verge by Tasha Robinson

There’s a lot of fantasy in the usual end-of-the-world scenarios, but there’s a lot of horror there as well. Bokeh asks which of those reactions is more appropriate, and how they both play out. It’s a gentle story, as apocalypses go, but even without monsters, it becomes a painful, emotional question of strength and survival.

Variety by Dennis Harvey

The result is a “What if?” exercise that ultimately doesn’t take its starting premise to any place that’s terribly interesting. However, for at least as long as it appears to be heading somewhere, Bokeh holds attention with polish and resourcefulness on a limited budget.

Los Angeles Times by Sheri Linden

The drama’s power may dwindle, yet its end-of-the-world scenario remains oddly recognizable.

Entertainment Weekly by Chris Nashawaty

There’s a seed of an interesting, Twilight Zone premise here — what would you do if you were the last two people on earth? But Bokeh doesn’t seem to know what to do with it besides have its photogenic Adam-and-Eve leads take long nature walks, play board games, and upgrade their living conditions.

Movie Nation by Roger Moore

Writer-directors Geoffrey Orthwein and Andrew Sullivan had a solid concept and a great setting, but not much else.

The Film Stage by Mike Mazzanti

Because of this lack of dramatic momentum, the elements of Bokeh that do work best — the occasionally enrapturing cinematography, the dreamlike score, and the interesting-but-overused experiential editing — all wear thin halfway through.