Wendy Ide
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The only thing more dazzling than the angry star throbbing at the centre of our dying solar system is the production design on Danny Boyle’s visually arresting sci-fi picture. Sunshine looks magnificent. Our first glimpse of Icarus II, the last hope of humanity, cowering behind its massive heat-reflecting shield, is breathtaking. With its eerie beauty and ambitious scale, this British production can match anything that Hollywood has churned out on a budget many times the size. It’s just a pity that the film sells out much of its initial potential and intelligent restraint with a final act that feels as if it was tacked on to appease a teenage audience.
The premise, scripted by Alex Garland in his third collaboration with Boyle, is gloriously improbable. The Sun is failing, and with it dies the future of Planet Earth. Our last chance is a bomb the weight of Manhattan Island, the payload that Icarus II is charged with delivering to our ailing sun. The hope is that the explosion will create “a star within a star”, providing humanity with a new lease of life. It helps if you don’t question the science too rigorously.
Crewing Icarus II are eight ethnically diverse scientists and astronauts. Cillian Murphy plays Capa, the physicist who designed the bomb. Murphy has matured into his striking looks — his icy blue gaze dominates a bone structure that, until recently, looked as if it had a few too many angles, an origami interpretation of a face. In Sunshine however, Murphy’s beauty is undeniable. He has the white-hot intensity of a young Peter O’Toole. Also impressive are the Australian actress Rose Byrne, as the compassionate, level-headed pilot, Cassie, and Chris Evans as the ship’s engineer, Mace.
But the starring role goes to the Sun itself: huge, ominous and indifferent. A change in the ship’s trajectory causes metal to groan and shriek as sunbeams blasts the vessel — the sound design is as atmospheric and rich as the production design. A sun-baked psychosis takes hold of some of the crew. The medical officer (Cliff Curtis) gazes out of the observation room, a goofy grin on his face, until his skin starts to peel in papery strips.
The Sun is all that is needed to inject enough jeopardy into this story to keep us on the edge of our seats — which is why it’s so disappointing that the story introduces an additional device that instantly shifts the tone from intelligent, adult drama to teen exploitation picture. It’s a cheap tension-creator that jars with the quality of the film-making that comes before. It’s the reason, ultimately, that this film is not the masterpiece that it could almost have been.

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Endings are one of the most crucial things, and from the statistics...
dam hard to get right.
Every expectation has been hyped...people are thinking "god dam! this better have a good ending or I'll scream' and the director is crossing his fingers, holding his breath and hoping that everyone likes the ending.
There needs to be a "Doctorate of ending a movie " in universities.
I feel like taking some movies, and stopping them at suitable places, fading them to black prematurely...stop the last Matrix movie after Neo sacrifices himself,..and show a 10 sec silent scene of a few of the citizens of Zion emerging, to walk on the surface for the first time. Fade to black, roll creditsand have the voice of Morpheus say:
" etc..Isn't that worth fighting for...isn't that worth dying for?"
while credits roll.
Well, I think that my version of how it should end, is at least better than "I made a rainbow for Neo!"
how would you have ended the thried matrix movie?
or some other movie.
Tobias, Auckland,
I agree with all the above - this could have been one of the SF greats - 2001, Alien, Star Wars - many spring to mind. But the last act chickens out at all the crucial points - why do we need a slasher? That's so Event Horizon! A good movie I agree, but been done so many times. This could have transgresed all of these genres and soared high to a new plain. The descent into the sun set up the ultimate trip that could have out-tripped 2001. Every rule that we know could have been jetisoned - anything is possible in the middle of a near Big Bang explosion - so why not run with it???? I pray for a directors cut of epic proportions because I loved this film so much and want it to reach its full potential. Please Danny - set it free - its all there.....
Oliver, Finchley, UK
I went to a preview screening of Sunshine with a Q&A with Danny Boyle and his thinking with the last part of the film was the because they were so close to the sun and nobody has any idea of what could happen to a human in those conditions they could "throw the rule book out of the window" and a make the change of pace work. I agree that it jarred but i liked the idea of the maddened, sun-scorched man who had spent 6 and a half years wallowing in his own delusions after possibly killing his own crew. It was an illustration of the possible end result of the ship's doctor's obsession - for all our so-called rationality we are dust in the face of something a beautiful and monstrous as the sun. What I didn't like was what they did with it. They turned it into a teen-flick slasher movie which was ultimately disappointing although the rest of the film more than made up for it esp sound, set and visual design.
MM, London,
I agree. Although Alex Garland does it every time, The Beach, 28 Days Later the last reel or 2 are a different film. Does he get bored with his initial idea, or dissillusioned? Why Danny Boyle didn't see it coming again I don't understand.
DW, Redditch, UK
What a film this could have been. Visual stunning, well acted with an interesting story.
I came out of the cinema feeling cheated, what should have been a memorable film was runined by the very silly last half hour.
The only thing I came out of the cinema thinking was ' What a shame'.
I can only hope that this was not the director's choice and that a 'Director's Cut' will reveal an alternative, believable ending.
See the film if only for the visual effects and the first thrilling hour or so, you can forget the last half hour though.
Danny Boyle what were you thinking?
BP, London,