The film’s premise is very simple: Earth’s sun is about to go out, effectively extinguishing life as we know it.  Our last hope is Icarus, the second manned ship sent to the sun to “reignite” it with a nuclear fusion device.  The eight scientists and pilots on board must endure the pressure of saving civilization, the isolation of space, and each other.  

From the beginning, I knew I would enjoy Sunshine.  There was no introduction of characters as happy people on earth, no intense phone call to the president after some peon pencil pusher notices strange readings, no astronaut training montage.  The film starts out dark and quiet, and you enter the spaceship feeling cold and alone, exactly how the crew must be feeling.  You watch them send video messages home, spend time working out equations, fight with each other; and the whole time you’re stuck on that god forsaken ship with them, getting to know them, and yet still feeling isolated and unsure of exactly what is happening.

Every element of this movie is marvelous, starting with the casting.  CiIlian Murphy has already had success with Boyle in 2000’s 28 Days Later.  Michelle Yeoh (Memoirs of a Geisha) and Hiroyuki Sanada (The Last Samurai), are respected actors in Asia, but have had very limited Hollywood exposure.  Even more interesting are Chris Evans (Human Torch in Fantastic Four), Cliff Curtis (Smiley in Training Day) and Troy Garity (the white guy in Barbershop).  Simply attempting to bring this eclectic group together to form a cohesive crew is applaudable; that it succeeds is spectacular.

John Murphy’s original score is dead on in setting the tone and carrying us through very tense moments all the way through.

Boyle nails the camera work, contrasting empty black space around a gigantic, cold spaceship, with very intimate shots of individuals and somewhat lacking interpersonal relationships among the crew.

My only qualm with the film is near the end (no spoilers here), where the cinematography takes on a different form, not only a departure from the rest of the movie, but also a departure for Boyle’s established style.  It may have had meaning in this situation, but I felt it was ill conceived. Though it wasn’t enough to detract seriously from the rest of the film, I hope Boyle isn’t expanding on a style that, for him, has worked marvelously so far.

Final Grade: A-.

Leave Comment