Lane on “Sunshine”
Danny Boyle‘s “change of tack” at the end of Sunshine (Fox Searchlight, 7.20) “feels jagged with impatience and panic,” writes New Yorker critic Anthony Lane in one of the best-written critiques of this interesting but enormously infuriating sci-fier that I’ve read anywhere. (It’s suddenly hit me that I haven’t posted a word myself — sometimes I just turn away and say nothing when a film seems as shockingly miscalculated as this one.)
“Villainy descends upon the spaceship, but so pressing is the question of why and how it got there, and what factor sun cream it must have been lathering on, that Boyle tries to disguise the uncertainty with visual effects, smearing almost every shot into a distorted haze.
“Beware of filmmakers who shy from clarity just when we need it most, and ask yourself what happened to the Boyle who offered that unflinching view of drug abuse in Trainspotting, with its scabrous highs. He has not so much taken leave of his senses, I think, as allowed them to overwhelm him. Blame it on the sunshine.”
The unfortunate thing is that there was a clear path to NOT turning the movie into Event Horizon (how odd I should mention that forgotten B movie twice in one day). **SPOILERS AHOY** You could still have had the bad guy, but he didn’t have to be Freddy Krueger, he could have been one step ahead of them in trying to sabotage the ship for his nutso religioso reasons without being Rutger Hauer as a serial slayer, too.
Of course, there are various other third act plotlines and directions the movie could have gone in, but that one at least would have made more sense thematically without turning it into a slasher movie. Ultimately, the problem is that all these movies promise us something unimaginable, and then fail to imagine it; Kubrick got there first so he was able to pull off the hat trick of showing us something teasingly mysterious, familiar yet ineffable at the same time. Anybody following in his footsteps has to take it further, and there is no further. (It actually made me like The Fountain better, for coming up with about the best, and most visually impressive, set of alternate answers so far.)
I also thought Boyle was not very good at laying out the geography after a certain point, which contributed to the incoherence. Which part was the bomb and which was the ship? Who needed to be where to succeed at the end? Why did the bomb require a guy with a laptop to manually operate it (and only one person on board was trained to do so?) A lot of stuff got lost in the blur of the last 20 minutes.
Of course, if you really want logic, you have to ask why this was a manned mission at all, and why the sun’s gravity didn’t have all of them pasted against the windows by a certain point…
I think the movie had potential to be better. But it was a very tightly constructed script and the actual twist that occurs was easy for me to predict the minute they boarded that ship with those almost subliminal flashes. I didn’t really get that frustrated by it and for some reason liked the hazy and distorted look it veered into. Because if it would have calmed down we would have been staring at Freddy Krueger.
I completely understand the dislike for the end, but he wasn’t trying to make a Solaris, just a gritty space thriller. I also liked the idea of mankind having the ability to destroy it all or preserve life.
i have to disagree. i thought the out of left field turn at the end was great simply because i had NO idea it was coming. i haven’t had such a visceral experience in a movie theatre all summer. but i would like to see it again before i feel like i can make a true judgement about it. to be honest though, it was the best thing i saw in a theatre this summer, with the exception of Once and, hopefully, Bourne.
I caught Sunshine in Philly this week. I was ULTRA hyped about this movie. I love everything Danny Boyle has made (except Millions): Shallow Grave, Trainspotting, A Life Less Ordinary, The Beach, and 28 Days Later. From what I saw in 28 Days Later, I figured that Boyle would knock Sunshine out of the park. The trailers were great and so was the cast. And the first hour was solid. Too bad the cliche second half murdered all of the hard work in the beginning. Had he never seen (or heard of) Event Horizon?
It is too bad that the plot was weak because 99% of the performances were good. Chris Evans was great, Cillian was decent (better in 28 Days), and Michele Yeoh was great.
Perhaps Danny should have just directed 28 Weeks Later instead of this.
Alex
The movie is awfully close to Event Horizon. I didn’t mind the twist, I thought it was an effective choice for what is essentially a Ten Little Indians-in-space movie.
Yeah, I posted something about Event Horizon in another thread simply because I was so frustrated by the similarities and Jeff hadn’t posted anything on Sunshine.
Seriously though, if that camera had slowed down you wouldn’t have seen Freddy Krueger, you would have seen Sam Neill.
And the thing is, for about 60% of the film, I was really enjoying it. It was shaping up to be a better movie than Event Horizon (even though EH is one of my all-time guilty pleasures), but because it so blatantly rips off the ending as well as other plot points/set pieces (e.g. a guy floating in space with no suit and surviving, the mysterious ghost ship with the freaky quick cuts of dead people) I really can’t say that Sunshine is the better film, all things considered.
So, in short, I didn’t mind the twist for what it was. I minded because it took me completely out of the film.
I see the comparisons to Event Horizon. But that movie started out as a metaphysical/pseudoscience head trip which borrowed a little from Solaris. Sunshine seems to be much more grounded in reality. So I actually get way more pissed off at Event Horizon for giving us a crap ending like that when it’s essentially about other dimensions.
I *just* posted a long piece on Boyle in this week’s Everybody Gets Invisible (click my name below for link). I actually really liked Sunshine and didn’t have much of a problem with the ending — not nearly as much as most critics. I think this is one of those pieces of “conventional wisdom” that will just baffle me.
I think it helps to be an admirer of Boyle’s past films, which I am, for the most part. They all kind of end this way, and my piece is about how that sometimes makes sense.
Mgmax, I would agree that the geography becomes unclear after a certain point. I had some of the same questions during that last section of the film. But ultimately, there is so much good about Sunshine that I can’t do less than heartily recommend it.
But then, I really liked A Life Less Ordinary, too…
I haven’t seen EH for several years but I remember a lot of jibber jabber in the first 20 minutes explaining how the ship worked, bending space in half and such. I think it made an attempt to ground itself in reality….
….and then of course it turned out that the ship ended up going to the edge of the universe and back, and essentially came back possessed by Satan. Once you have the whole other-dimension angle, there really isn’t anyplace you can’t take it. “Oh, so when the ship bent space in half it ended up in another dimension where the crew was taught Latin and tortured? Sure, I can buy that.”
**SPOILERS** Sunshine’s problem is that it is TOO grounded in reality to get away with that deus ex machina. Can we really buy that a guy was able to survive on his own for 6 years while routinely exposing himself to the sun at full blast? Given the Cliff Curtis scene at the beginning when the computer warns him about going above 3.1% exposure, I don’t think we can really accept that the Icarus I captain would have made it that long.
So I think where Event Horizon succeeds as a Sci-Fi/Horror film, Sunshine fails, because we can’t accept the premise of the Horror aspect.
BNick, though I guess it does stretch plausibility (though many aspects of the film do this), I would just assume that (****SPOILER****) the slashing fellow was just immersing himself in the sun at an unreasonable level for a long time. Like, say, 2.97, or something. But every day for years. That would probably suffice to eff him up, right?
Or did he say he exposed himself at full blast (I can’t remember)? In that case, I guess you’re right… but I liked the idea anyway.
One assumes he never set the broiler to full blast, yes. But who knows?
You know, while it owes a lot to Event Horizon (and I don’t necessarily object to better directors showing crap directors how they should have made their movie), it also just demonstrates that just as all submarine movies are basically the same (“Take her down to 600!” “600? Why, no sub has ever–”) all space movies have a limited number of realistic tricks and setups– the room full of plants (Silent Running), the holodeck (Star Trek), emergency diving through a vaccuum (2001, Event Horizon), guy who doesn’t make it freezes and cracks (Mission to Mars), not enough air for the number of people (Marooned), etc. etc. If I could remember Dark Star and Moon Zero Two better I’m sure we’d find some there, too…
jesse,
**SPOILER** I was confused about the fact that the computer seemed to be at least partially shut down on Icarus I. I figured this meant that they really couldn’t control the degree of exposure in the observation chamber, but then the crew went in there and was fine, so who knows. More importantly, when Capa confronts Krueger/Neill in the Icarus II observation chamber, he escapes and once he closes the door he turns the exposure dial up dramatically, but this fails to kill the guy. Thinking through this a bit more, I guess you’re right that it probably wasn’t on full blast because I think that’d just fry you, or turn you to dust.
But regardless of whether the guy could have survived at all, I think anyone would at least have to concede that he wouldn’t be in walking/stalking/chasing shape. And he’d probably have skin cancer.
I’m also one of the few who actually enjoyed the film from beginning to end. In the first two acts of the film we witness the psychological bearings of delivering the kamikaze payload but then that experience is manifested into physical form and the film grows more maddening and punishing as the Icarus II crew shift from fighting each other to fighting another to save the world and it works.
I will say though that, personally, I don’t like the happy ending. I think the crew should have failed with the message being that man is not capable of taking charge of the of the universe. If the sun is dying then the sun shall die and we with it. Man cannot take charge of his own fate because man is not wise and capable enough, how can we change the inner-workings of this solar system’s center star when we cannot even agree on life here on earth? Death should not be fought it should be accepted with open arms.
This is why The Fountain makes for such a compelling rebuttal to this film.
Mgmax,
I heard an interview with Danny Boyle where he said there basically isn’t anything else you can do with a space movie that hasn’t already been done. He said that during pre-production he’d come up with an idea independently and someone would have to tell him that the same thing had already been done in some other movie that he’d never even seen.
I think, as others on this board have pointed out, that a film like The Fountain shows that you really have to go in an entirely different direction to come up with an original “space” idea. And of course those scenes didn’t even make up a third of the film.
BNick, what I liked about Sunshine was that it struck me as all of that space-movie stuff (not counting more thoughtful/metaphysical movies like 2001, though it had touches of that, too) finally done well in a more coherent package than, say, Mission to Mars (which has a great 45-minute-or-so section but is hokey before and worse after) or Event Horizon (great production design, silly movie), or any number of “space disaster” movies since the technology has existed to make semi-convincing ones (at least visually). That is to say, I’ve seen a lot of space movies that Sunshine did, but within an admittedly specialized genre, I’m now thinking of Sunshine as “the good one.”
The unfortunate thing is that there was a clear path to NOT turning the movie into Event Horizon (how odd I should mention that forgotten B movie twice in one day). **SPOILERS AHOY** You could still have had the bad guy, but he didn’t have to be Freddy Krueger, he could have been one step ahead of them in trying to sabotage the ship for his nutso religioso reasons without being Rutger Hauer as a serial slayer, too.
Of course, there are various other third act plotlines and directions the movie could have gone in, but that one at least would have made more sense thematically without turning it into a slasher movie. Ultimately, the problem is that all these movies promise us something unimaginable, and then fail to imagine it; Kubrick got there first so he was able to pull off the hat trick of showing us something teasingly mysterious, familiar yet ineffable at the same time. Anybody following in his footsteps has to take it further, and there is no further. (It actually made me like The Fountain better, for coming up with about the best, and most visually impressive, set of alternate answers so far.)
I also thought Boyle was not very good at laying out the geography after a certain point, which contributed to the incoherence. Which part was the bomb and which was the ship? Who needed to be where to succeed at the end? Why did the bomb require a guy with a laptop to manually operate it (and only one person on board was trained to do so?) A lot of stuff got lost in the blur of the last 20 minutes.
Of course, if you really want logic, you have to ask why this was a manned mission at all, and why the sun’s gravity didn’t have all of them pasted against the windows by a certain point…
I caught Sunshine in Philly this week. I was ULTRA hyped about this movie. I love everything Danny Boyle has made (except Millions): Shallow Grave, Trainspotting, A Life Less Ordinary, The Beach, and 28 Days Later. From what I saw in 28 Days Later, I figured that Boyle would knock Sunshine out of the park. The trailers were great and so was the cast. And the first hour was solid. Too bad the cliche second half murdered all of the hard work in the beginning. Had he never seen (or heard of) Event Horizon?
It is too bad that the plot was weak because 99% of the performances were good. Chris Evans was great, Cillian was decent (better in 28 Days), and Michele Yeoh was great.
Perhaps Danny should have just directed 28 Weeks Later instead of this.
Alex
It would be interesting to see if the demographics of the people who were disappointed with the ending line up with a religious affiliation. The movie offers a wonderful humanist perspective. I thought it was an inspirational, if melancholy, film and I want to watch it again.
The Fountain…I respect that film but don’t love it. Originally executed for sure, and the space bubble sequences are very cool…but I just can’t jump up and down when it reaches a conclusion that many people do by themselves when they eventually ponder what life after death could be….or even if they’ve seen The Lion King.
I agree with the common opinions of the ending sucking the air out of the room (pun only marginally intended), but I want to see the whole thing again, knowing what’s coming. Then I’ll make final judgment. But I think Sunshine was doing mighty fine until that part. And Chris Evans is pretty damn solid in his role, which no one saw coming.
But even Boyle himself admits that there’s only so much you can do with a spaceship movie that hasn’t been done before, and you really toe a line when it comes to making one.
One assumes he never set the broiler to full blast, yes. But who knows?
You know, while it owes a lot to Event Horizon (and I don’t necessarily object to better directors showing crap directors how they should have made their movie), it also just demonstrates that just as all submarine movies are basically the same (“Take her down to 600!” “600? Why, no sub has ever–”) all space movies have a limited number of realistic tricks and setups– the room full of plants (Silent Running), the holodeck (Star Trek), emergency diving through a vaccuum (2001, Event Horizon), guy who doesn’t make it freezes and cracks (Mission to Mars), not enough air for the number of people (Marooned), etc. etc. If I could remember Dark Star and Moon Zero Two better I’m sure we’d find some there, too…
I think part of my disappointment with Sunshine is that 28 Days Later managed to bring an unexpected thoughtfulness to, of all things, the zombie genre– of course that had some unexpected side effects, such as, I actually thought the Christopher Eccleston character was the hero of the movie, since he was the only one doing hard thinking about what it would really take to get past this crisis and repopulate England. But anyway, that right there is proof that there was a lot to chew on in that movie and it wasn’t just scare stuff, so I was sorry that Sunshine had relatively little to think about an equally big if not bigger subject (what would or should you do about the pending end of humanity, and what does it all mean?)
Incidentally, I don’t think any reviewer has commented on this, but… it’s kind of funny to notice how much Sunshine resembles this science fiction end-of-the-world story:
http://www.youtube.com/watch?v=uAbtEQxFow4
I think part of my disappointment with Sunshine is that 28 Days Later managed to bring an unexpected thoughtfulness to, of all things, the zombie genre– of course that had some unexpected side effects, such as, I actually thought the Christopher Eccleston character was the hero of the movie, since he was the only one doing hard thinking about what it would really take to get past this crisis and repopulate England. But anyway, that right there is proof that there was a lot to chew on in that movie and it wasn’t just scare stuff, so I was sorry that Sunshine had relatively little to think about an equally big if not bigger subject (what would or should you do about the pending end of humanity, and what does it all mean?)
Incidentally, I don’t think any reviewer has commented on this, but… it’s kind of funny to notice how much Sunshine resembles this science fiction end-of-the-world story:
http://www.youtube.com/watch?v=uAbtEQxFow4
So, watched the movie last night, and came out of it in love with the first two thirds, then agreeing with everyone about the last third. A near miss, I was thinking…but I couldn’t get the movie out of my head.
Went back and saw it again today…and I feel like a schlump. I believe I was expecting this to turn into Friday the 13th, with some unstoppable supernatural entity – but all we really got was an insane fellow who managed to keep himself going in a thriving ecosystem.
Would I have preferred it without an overt villain? Yeah, probably – I love it when you a film like The Fly, where the situation is the antagonist. But still, this worked for me, and I almost let spoilers and preconceptions ruin the fun. Glad I went back.
This thread is old and gray by now, but I just saw the film this weekend and feel like contributing my .02.
The fascinating aspect of the film for me was its ambition to say something interesting about the awesome and destructive force of the light, and the contrast between that and the usual light/dark, good/evil delineations. There are so many “happy” associations with sunny days, sunny beaches, sunny personalities, etc, that we forget what it really is– an incomprehensibly large, 9,600 degree mass of hydrogen in a state of constant violent nucleur fusion, ripping off magnetic fields and scorching bursts of radiation. It’s possible I was reading too much into it, but I was deeply into the film’s take on the irony of the light=good mythology for the first hour. And the part where they passed Mercury was totally and completely cool.
So I tried to go with the slasher at the end as the personification of this light/dark muddle, of mankind being driven mad by abundance, and how that madness corresponds with what we associate with God — heaven, eternal enlightenment (pun intended), perpetual bliss.
But it was hard to keep thinking high-brow thoughts when the old horror movie tropes started coming fast and furious. I was taken out of my little philosophical loop and dropped into a regular old thriller. Suddenly, all the logic gaps I’d overlooked (or barely noticed) seemed glaringly obvious because I now had to track the plot literally instead of figuratively.
Still, this movie–slasher and all– has a lot more on its mind than anyone involved with the relatively hokey Event Horizon.
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