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Flesh tones are likewise flat but understandably so.

Most probably won't see it coming or even realize it happened, and the unfortunate few who survive are going to be tasked with living the most unlivable existence in human history.

And if some great prognosticator, or someone with some common sense, can foresee it coming, maybe a handful will be tucked away in a "safe place" to continue on, armed with whatever resources are deemed necessary to propagate and rebuild.

With only two -- three if one wants to count a person who is essentially a hallucination -- characters, the set itself becomes something of greater import than a mere background, portraying here not just walls but instead an end-of-the-world sanitarium of sorts that may not be the dominant factor in the men's doings, but certainly a factor.

The actors play it well, too, close to the vest and keeping the audience not so much guessing, but uneasy.

Or maybe they'll just be crammed in a concrete vault with little care paid to their future.

Such is the story of Air, essentially a tale of two people surviving in some underground shelter and in a world that's like some evil combination of the underground station from Lost meets the grimy confines seen in The Divide meets the government-built shelters from the Fallout video games.

Air may be the bleakest, gray-dominant movie since The Road.

Sony's 1080p transfer revels in visual fatigue, in an image where the only reprieves from the gray and black come from fluorescent lights and the occasional flashlight beam; a few red, blue, and green computer blips; and a red tool chest.

The film follows standard genre permutations as it explores more the mental state of the characters and less their physical constraints.

Those psychological points of interest include hallucinations and visions, a growing detachment from reality and a moral center, and a sense of claustrophobia that's more immediately obvious on the outside but that the audience can practically feel chocking off the characters from the inside.

It's not exactly a stunner given the source and style, but Sony's transfer carries the film's intended look nicely enough.

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