A British-American co-production between DNA Films, UK Film Council, and Ingenious Film Partners, Sunshine was released in the United Kingdom on 6 April 2007 and in the United States on 20 July 2007 thru Fox Searchlight Pictures. With a budget of US $40 million,[2] it ultimately grossed $34.8 million worldwide, citing it as a box-office bomb.[3] Despite this, the film received generally positive reviews from critics, highlighting its visual style, direction and performances, but criticizing the third act and scientific inaccuracies.
Plot
In the year 2057, the Sun is dying and Earth is freezing. Eight international astronauts pilot the Icarus II, a ship fronted with a mirrored stellar bomb designed to reignite the dying star.
As Icarus II passes Mercury it picks up a distress beacon from Icarus I, a prior attempt lost seven years earlier. Reasoning another payload allows another attempt, Physicist Capa convinces Captain Kaneda to change course and intercept Icarus I, despite Mace's objections. Trey calculates and plots the route, but forgets to realign the shields and damages reflective panels; the broken panels could expose and destroy the ship.
Cassie angles the damaged shields into shadow as Kaneda and Capa spacewalk to make repairs. As expected, this incinerates their communications towers, however reflected light burns the oxygen garden and air reserves. The emergency autopilot tilts back to original alignment, and Kaneda orders Capa to retreat. Kaneda repairs the final panel, but is incinerated. Trey blames himself for Kaneda's death and Searle sedates him, assessing him as a suicide risk.
Without enough oxygen to deploy the payload, Icarus II is forced to dock with Icarus I. Capa, Searle, Mace, and Harvey search the vessel, leaving Cassie and Corazon onboard Icarus II with Trey. Despite operational systems and an overgrown oxygen garden, Icarus I's mainframe has been sabotaged, rendering payload delivery impossible. Mace finds a crazed log from Captain Pinbacker: covered in severe burns, Pinbacker gives a fatalist tirade about their mission opposing God. Mace dates it at six and a half years ago, around the scheduled payload delivery. The charred Icarus I crew is found huddled in the observation deck, burned to death by unfiltered sun exposure.
Suddenly, the two ships explosively decouple, destroying Icarus I's outer airlock. Stranded, the four agree to jettison back into Icarus II wearing the only spacesuit and airlock insulation; despite Harvey's protests, Capa is given the suit as the only person who can deploy the payload. With the mainframe destroyed, Searle volunteers to stay behind and open the airlock. During the jump, Harvey misses the airlock and dies from space exposure, while Capa and Mace make it back to Icarus II. Searle returns to the Icarus I observation deck and exposes himself to unfiltered sunlight, incinerating himself.
With five crewmembers remaining, Corazon calculates that there is only enough oxygen for four people to reach the Sun. The group reluctantly votes to have Mace kill Trey, but discover Trey has already committed suicide. With the remaining crew somewhat relieved that they can succeed, Icarus II warns Capa that there is an oxygen shortage due to five crew members. Capa investigates and discovers Pinbacker, who boarded from Icarus I and caused the explosive airlock decoupling. Pinbacker wounds and pursues Capa, who secures himself in the airlock; Pinbacker locks the exterior, trapping Capa inside. Pinbacker kills Corazon and raises the Icarus II mainframes from their coolant baths, shutting down the ship's computer. Mace triggers mainframe resets from within two baths, but the third mainframe crushes his leg and traps him in the bath. Freezing to death, Mace begs Capa to complete the mission over radio.
Capa wears a space suit and welds through the interior airlock, before opening the exterior airlock; the decompression tears off the interior door. Capa deploys the payload, boarding the bomb as it detaches and Icarus II disintegrates in sunlight. Inside, he finds a wounded Cassie, but is choked by Pinbacker. Pinbacker claims he spent seven years "conversing" with God, and was told to send humanity to Heaven. Pinbacker holds Capa over an edge, but Cassie leaps and grabs Capa. Capa tears the burned skin from Pinbacker's arm, making them fall.
Gravity shifts as they hurtle towards the Sun, and Capa and Cassie land on the wall. Cassie encourages Capa to ignite the bomb, and he rushes to the controls. Capa watches as the bomb ignites at the edge of the Sun and spacetime distorts; the Sun's surface halts before Capa, who reaches out and touches it.
On Earth, Capa's sister and her children build snowmen on the frozen Sydney Harbour. Listening to Capa's last transmission, they watch as the Sun brightens and washes sunlight over the area.
Cast
Actor Cillian Murphy who portrayed physicist Robert Capa
Cillian Murphy as Robert Capa, the physicist who operates the massive stellar-bomb device. Murphy described the character of Capa as a silent outsider, which was due to the fact that only Capa understood the operation and true scale of the bomb.[4] Murphy worked with physicist Brian Cox,[5] who praised Murphy's performance as "brilliant" and a "great portrayal as a physicist,"[6] to learn about advanced physics, touring the CERN facility and learning to copy physicists' mannerisms.[7] The actor also studied the thriller The Wages of Fear (1953) with Boyle to gain an understanding of the type of suspense that Boyle wanted to create in the film.[8] Murphy said that his involvement in the film caused him to change his views on religion from agnosticism to atheism.[7][9]
Chris Evans as James Mace, the engineer. Evans described his character Mace as one with a military family and background. Mace has a dry and morally uncomplicated personality. Said Evans, "[He] has a very level head which enables him to operate fairly coherently under pressure-filled situations."[10]
Rose Byrne as Cassie, the space vessel's pilot. Byrne was chosen by the director for her role in Troy (2004).[11] Byrne described Cassie as the most emotional member of the crew, "wearing her heart on her sleeve." Byrne considered Cassie's role among the crew was to possess an even temperament, which helps her last the journey.[10]
Michelle Yeoh as Corazon, the biologist who takes care of the ship's "oxygen garden". Boyle cast Yeoh based on her performance in Tomorrow Never Dies (1997),[10] and Memoirs of a Geisha (2005).[12] Yeoh described her character as more spiritual, explaining Corazon's background as an "Asian influence or that she's always constantly surrounded by organic things – she's very grounded and more down-to-earth."[13]
Cliff Curtis as Searle, the ship's doctor and psychological officer. He is obsessed with the Sun and how it looks when staring at it without any type of protection. The role of Searle was originally written to be a "slightly stiff" British character.[10] Curtis was drawn to the role based on the script and also expressed interest in working with the director.[14] Boyle was familiar with Curtis from Training Day (2001) and Whale Rider (2002),[15] and Curtis's audition appealed to Boyle strongly enough to cast the actor as Searle.[10] Curtis initially foresaw an esoteric approach for his character, but he later pursued a military and scientific approach based on the seriousness of the mission. The actor also compared Searle to the character of Pinbacker, noting their similarities and differences: "[Searle] would sacrifice those beliefs and views, his life, for the greater good, whereas Pinbacker, who's come to a place he believes is right, would sacrifice the world for his beliefs. They're two sides of the same coin."[14]
Troy Garity as Harvey, the communications officer and second-in-command. Garity's previous work was unknown to Boyle, but the director was impressed enough with the actor upon meeting him that he cast Garity. Garity described the character of Harvey as the only crew member who misses his family back home on Earth and attempts to hide the fact.[10]
Hiroyuki Sanada as Kaneda, the ship's captain. The script originally had an American captain, but Boyle changed the nationality to Japanese after studying the opinions of scientists and space experts.[16] Boyle saw Sanada in The Twilight Samurai (2002), and director Wong Kar-wai recommended the actor to Boyle when the latter sought someone to cast as the Asian captain of the ship.[17] Sanada's character was originally called Kanada, but he asked Boyle to change the name to Kaneda, a more natural Japanese name. The character was Sanada's second English-language role in cinema, and Sanada learned different forms of English, depending on the circumstances. Sanada's base English language had a British dialect, and when the actor recited official statements as Kaneda, the dialect was official English. In communicating with other characters as Kaneda, Sanada spoke with an American English accent to reflect the fictional situation of the character training with the rest at NASA.[16]
Benedict Wong as Trey, the navigator. Boyle saw Wong in Dirty Pretty Things (2002). Wong's character, Trey, was a child prodigy who created a computer virus that brought down one-sixth of the world's computers. As a result, Trey is recruited into the space program so his genius could be applied more beneficially.[10]
Chipo Chung as the voice of "Icarus", the on-board computer of the spacecraft Icarus II possesses a "natural-language" communication interface, allowing the crew to ask questions, give orders, and receive status updates and warnings verbally, as if they were talking to a human. Indeed, the ship itself is a major character in the movie. This was Chung's first named film role.[18]
Mark Strong as Pinbacker, the murderous captain of Icarus I, the first ship that was sent to reignite the Sun. Pinbacker was inspired by the character of Sergeant Pinback from Dark Star.[19] The character's disfiguring burns were influenced by the injuries suffered by F1 driver Niki Lauda.[20] Boyle described the character of Pinbacker as a representation of fundamentalism.[21] The director also described the potentially unrealistic presence of Pinbacker as an example of something that breaks the pattern of realism, similar to his scene in Trainspotting (1996) in which Ewan McGregor's character dives into a toilet.[22]
In March 2005, following the completion of Millions (2004),[23] director Danny Boyle was briefly attached to direct 3000 Degrees, a Warner Bros. project about the 1999 Worcester Cold Storage Warehouse fire in Massachusetts. Opposition from surviving victims and firefighters prevented the project from entering production. At the same time, Boyle received a script from screenwriter Alex Garland, who had paired with Boyle for The Beach (2000) and 28 Days Later (2002). Producer Andrew Macdonald, working with Boyle and Garland, pitched the script to 20th Century Fox, who were reluctant to finance the film based on its similarities to the 2002 remake Solaris, which performed dismally for the studio. The project was instead financed by Fox's specialised film unit Fox Searchlight Pictures. Since the preliminary budget at US$40million was too demanding for Fox Searchlight, Macdonald sought outside financing from British lottery funds, U.K. rebates, and outside investor Ingenious Film Partners.[20] With financing in place, Boyle entered pre-production work for Sunshine, for which he planned to commence production by the following July.[23] Since Boyle had previously worked with Fox Searchlight on 28 Days Later, the existing relationship permitted the director freedom in production, working in a small studio.[24]
Boyle and Garland worked on the script for a year, spent a second year preparing for production, filmed for three months, and spent a third full year editing and completing visual effects for Sunshine.[15] After completion of filming for Sunshine, Boyle said that he would not revisit the science fiction genre, citing production as a spiritually exhausting experience.[19] The director said making the film had conquered his fear of the difficulty encountered in producing a science fiction film, and that he would move on from the genre.[25]
Casting
Director Danny Boyle chose to have an ensemble cast for Sunshine to encourage a more democratic process, similar to the ensemble cast in Alien. Boyle also chose to have the cast be international in order to reflect the mission's purpose "on behalf of all mankind".[26] The space crew in the film also consisted of American/Asian nationality because of the filmmakers' belief that the American and Chinese space programs would be the most developed and economically empowered 50 years in the future.[27] The director had also received advice that there would be advanced space programs with India and Brazil, but the advice was overlooked to avoid creating a cast that was too disparate.[28] According to producer Andrew Macdonald, the actors were required to speak with American accents to target the US audience as much as audiences from other parts of the world due to the budget level of the project.[29]
To prepare the international actors for the film, Boyle had the cast undergo method acting.[30] At the beginning of the film, the characters had been together for sixteen months, so Boyle desired to capture a sense of togetherness among the actors by assigning them to live together. He also enrolled the cast members in space training and scuba diving, as well as watching films together,[31] such as The Right Stuff (1983) and the documentary For All Mankind (1989).[32] Boyle also took the cast on a tour of a nuclear submarine to comprehend claustrophobic living conditions. He also had the cast experience weightlessness in the zero G environment of an acrobatic plane.[31]
Cast members operated a Boeing 747flight simulator and were introduced to futurologist Richard Seymour.[33] The book Moondust by Andrew Smith, a collection of accounts of the men who had walked on the Moon, was required reading for cast members.[34] The book had been assigned by Boyle because it described the lasting psychological changes experienced by that particular group of astronauts. The director sought to manifest the effect by showing the Sun's awesome, radiant power influencing the psyches of the ship's crew.[35]
Michelle Yeoh was originally offered the role of the Captain (played by Sanada in the film) but turned it down as she felt she was not ready to play such a part.[36]
Writing and scientific inaccuracy
Screenwriter Alex Garland was inspired to write Sunshine based on scientific ideas about the heat death of the universe.[37] Garland had wondered about what would result from the Sun's death[38] after reading in an American scientific periodical "an article projecting the future of mankind from a physics-based, atheist perspective".[19] Garland said of the project: "What interested me was the idea that it could get to a point when the entire planet's survival rests on the shoulders of one man, and what that would do to his head."[38] Garland brought the script to director Danny Boyle, who enthusiastically took up the project due to his long-time desire to direct a science fiction film set in space.[31] Boyle and Garland worked on the script for a year, creating 35 drafts in their experimenting.[17]
Boyle also considered the story of Sunshine as a counterintuitive approach for the contemporary issue of global warming, with the death of the Sun being a threat.[31] Originally, Sunshine was scripted to begin with a voiceover talking about how parents tell their children not to look into the Sun, but once told, the children would be compelled to look. Boyle described the Sun as a godlike personality in the film, creating a psychological dimension for the astronauts due to its scale and power.[39] The director also described the film's villain as based on light, explaining: "That's quite a challenge because the way you generate fear in cinema is darkness." The director also sought to have the characters experience a psychological journey in which each person is worn mentally, physically, and existentially and is experiencing doubt in their faiths.[40] To capture the dangers of the voyage that the crew members went through, the director cited Bill Bryson's A Short History of Nearly Everything as influential in "articulating the universe's power".[41]
The story was also written in part to reflect the brilliance and "necessary arrogance" of real life science when the world's scientists are presented with the crisis that threatens Earth.[26] The time period of the story, 50 years in the future, was chosen to enable the level of technology to advance to the ability to travel to the Sun, but to simultaneously keep a feel of familiarity for the audience. Scientific advisers, futurists, and people who developed products for the future were consulted to shape an idea of the future.[31]
To shape the science of the film, Boyle and Garland hired scientific advisers, including NASA employees and astrophysicists.[26]Brian Cox, a professor of particle physics at the University of Manchester, was hired to advise the cast and crew after the director had seen Cox on the science TV series Horizon.[42] Cox gave regular lectures to the film's cast members about solar physics, and also advised the filmmakers to scale down the nuclear device in the film from the mass of the Moon to the size of Manhattan. In the film's backstory, a Q-ball enters and is caught in the Earth's Sun, and begins to eat it away. According to Cox, the Sun would not be dense enough in real life to stop a Q-ball, but filmmakers took creative licence in writing the backstory.[37] Cox noted in the DVD commentary that several inaccuracies were permitted to allow for plot. He also dismissed criticisms of the film by scientists: "Sunshine is not a documentary. It's trying to just, in an hour and forty minutes, get across a feeling of what it's like—not only to be a scientist, because obviously there's much more in it than that. So, I found it interesting to watch the kind of people that get upset because the gravity is wrong."[43]
Boyle originally included romantic subplots,[44] including a sex scene planned between the characters Capa (Murphy) and Cassie (Byrne) in the ship's oxygen garden.[45] However, the director considered the attempt for relationships in space too "embarrassing" and excluded the subplots.[44] Boyle further distanced the characters from possible relationships by ensuring that the cast members wore little to no make-up to avoid any romantic overtures.[30] The director also avoided including humour in the script with the exception of a few gags, believing that humour was a difficult fit for the story.[22] "You get intensity of experience in space movies but not joy. So there's not much room for comedy or sex – everything is waiting to destroy you", explained Boyle.[46]
Slow motion during weightlessness was inaccurately portrayed; the director had discovered this when riding the Vomit Comet, but he kept the slow motion to meet audiences' expectations. Another purposeful inaccuracy was the "whooshing" of the ship, despite there actually being no sound in the vacuum of space; Cox later mentioned in the BBC's Stargazing Live programme in January 2011 that this was simply because without accompanying sound, the CGI shots seemed "cheap".[citation needed]
The film's scientific content has been criticised by specialists.[47] For example, the science periodical New Scientist said that the nuclear stellar bomb used by the crew would be woefully inadequate to reignite the dying Sun (billions of such devices would be required).[48] The periodical found the film to be confusing and disappointing. Similarly, solar physicistAnjana Ahuja, a columnist for The Times, commented on the lack of source of artificial gravity on board the spacecraft, saying "Danny Boyle could have achieved the same level of scientific fidelity in Sunshine by giving a calculator to a schoolboy". Ahuja was, however, more positive about the psychological aspect of the film, joking that "the psychology of extended space travel is covered well, although we could have done with a space bonk".[49]
Filming
3 Mills Studios
Filming for Sunshine took place at 3 Mills Studios in east London. An elaborate set was constructed, containing eight stages, 17 sets, and detailed models. The filmmakers employed three film units.[29] Filming began on 23 August 2005,[50] lasting for 15 weeks, with August and September being difficult months due to the heat and the cast's requirement to wear spacesuits for their roles.[7] Cinematographer Alwin H. Küchler chose to film in anamorphic format to capture a physical sense of the light. "We shot certain sequences in a very dark environment, which you get used to, so when the Sun plays a role, we wanted the audience to have a physical reaction to it", Kuchler said.[51] Due to filming with the actors taking place on a stage, director Danny Boyle constructed live effects so the actors could realistically respond to computer-generated effects that were later implemented.[52]
To increase the feeling of claustrophobia in Sunshine, Boyle refused to cut back to scenes on Earth, a traditional technique in most films about the planet in jeopardy. The director also maintained an atmosphere of confinement in Sunshine by avoiding filming the primary ship, Icarus II, from the outside. There are only a few outside shots of the ship.[33] He also attempted to avoid filming star field backgrounds, keeping the ship's exterior pitch black, but he was ultimately compelled to show stars outside the spacecraft to help convey a sense of the ship's movement.[40]
A scene in a snow-covered park with three stone monoliths was a homage to a similar scene in 2001: A Space Odyssey. The scene was filmed at a May Day memorial in Stockholm, Sweden.[53] The Sydney Opera House in Sydney, Australia, was chosen by Boyle out of six monuments that he considered universally recognisable. The Opera House, according to the director, possessed a "heat-thing" quality that decided it as his choice for a final establishing shot on Earth.
The snowy territory of the final scene was shot in Stockholm, Sweden, and a composite shot was created combining Stockholm's background and the Sydney Opera House.[31] A slightly different ending was shot after the original but was not chosen as the director felt that it did not fit the film. The alternative ending became available on the DVD of Sunshine.[28]
The 'Kenny' Suit – The spacesuit's colour scheme was chosen to deflect heat and radiation in the film, and the helmet was purposely designed to be a claustrophobic experience for the actors.
Filmmakers consulted NASA in designing the scientific aspects of the film. Technical specifications for the ship were provided in order to make it more realistic. An oxygen garden was also recommended to provide oxygen for the ship and to enable the crew to grow their own food rather than rely completely on pre-packaged sustenance.[35] Boyle met with a department within NASA that was focused on the psychology of deep-space travel, and they advised the director that regular Earth routines like preparing one's own food, enjoying its consumption and cleaning up afterwards are activities crucial to an astronaut's sanity.[55]
The gold-leaf shielding in Sunshine was influenced by NASA satellite designs for deflecting heat and other forms of radiant energy. Boyle designed the gold-coloured space suits along these lines despite persistent encouragement to model them after the NASA template. The helmets were designed to have cameras mounted in them. This further enhanced a sense of claustrophobia useful to the actors in delivering more heartfelt performances.[31] The helmets were also limited to a horizontal slit for visibility instead of a full-face visor as further consideration toward protecting the characters from the ambient radiation of outer space.[40] According to Boyle, the funnel shape of the helmet was influenced by the character Kenny from South Park.[31]
Boyle included "Icarus" in the name of the ship to continue a theme of bleakness, opining that no American would give their craft such an ill-fated name. According to the director, "They'd call it Spirit of Hope or Ship of Destiny. They'd call it something optimistic... in America they would sacrifice all plausibility, because there would be hope."[56] The ship's exterior was designed to look like an oil tanker.[20] The ship's interior was influenced by the design of a nuclear submarine that filmmakers had visited in Scotland, though the space was larger due to NASA's advice that smaller quarters would adversely affect the crewmembers' sanity.[15] The corpses of burn victims in the film were modelled on the Pompeii victims from the Mount Vesuvius eruption.[20]
Cinematographer Alwin H. Küchler provided an idea to render the interior of the ship in the colours of grey, blue, and green, with no reference to orange, red, or yellow. Scenes were intended to be shot inside the ship at long intervals, and when the shot changed to the outside, yellow-starved audiences would be "penetrated" by sunlight.[17] The visual effects of the sunlight were based on photographs from the Solar and Heliospheric Observatory project.[57] Boyle also sought to pursue inexpensive methods in filming sequences involving actors and visual effects. In a scene where Cillian Murphy's character dreams of falling into the Sun, the actor was placed in a gantry around which 20 assistants rotated an assembly of bright lights.
In another scene in which a character dies from solar exposure among the ashes from cremated bodies, massive wind turbines propelled biodegradable dust at the actor in the director's attempt to have the computer-generated effects follow the actor instead of vice versa.[46] Boyle commented on his approach to using effects, "There is part of our brain where we admire the effect, but we put it in a side compartment of our experience because you know there's no way an actor can live through that, or be there in that moment."[2] During the post-production process, Boyle hired one visual effects company, London's Moving Picture Company, to work on the film's 750 visual effects. The assignment of a single company was contrary to the industry trend of hiring multiple vendors to work on a film's effects. Boyle chose one company for ease of quality control, though the decision resulted in a prolonged post-production process.[20]
When the film was mostly complete, director Danny Boyle provided the footage to the band Underworld, who improvised a score.[30] Karl Hyde of Underworld was influenced by the music of avant garde composer György Ligeti which had been used in Stanley Kubrick's 2001: A Space Odyssey (1968). Lux Aeterna by Ligeti particularly influenced Hyde.[19] When Underworld finished recording, the band sent its work to composer John Murphy, who completed the score. The final result was a hybrid product of Underworld and Murphy's efforts.[30] The band I Am Kloot also contributed to the score with the track "Avenue of Hope".[58]
Despite high praise for the score from fans of the film, a soundtrack release was significantly delayed. This was partly due to "disputes" between the lawyers of Underworld and Fox Searchlight.[59] Although not available close to the film's debut, the soundtrack was finally released on iTunes USA on 25 November 2008.[citation needed]
Release
Theatrical run
Sunshine was originally slated for a theatrical release in October 2006, but the release was later changed to March 2007. The film was finally set to debut in April 2007.[20]Sunshine made its world premiere at Fantasy Filmfest in Bochum, Germany, on 23 March 2007.[60]
The film was originally slated to be released in the United States in September 2007, but the release date was moved earlier to July 2007.[61]Sunshine was released in the United States and Canada at select locations in Los Angeles, New York City, Chicago, San Francisco, Boston, and Toronto on 20 July 2007 and then opened wide on July 27.[62]Sunshine opened in 10 cinemas in the United States and took US$242,964 over the opening weekend.[3]
Home media
Following its cinematic release in theatres, the Region 2 Codewidescreen edition of the film was released on DVD in the United Kingdom on 27 August 2007. Extras include deleted scenes with audio commentary by Danny Boyle; alternative ending; web production diaries; two short films – Dad's Dead and Mole Hills with an intro by Danny Boyle; audio commentary by director Danny Boyle; and an audio commentary by Dr. Brian Cox, University of Manchester.[63] In the United States, the Region 1 Codewidescreen edition of the film was released on DVD on 8 January 2008 with the same features.
A Blu-ray version was released in the UK in October of the same year. In the United States, Sunshine was released on high-definition Blu-ray Disc. Special features include deleted scenes with optional commentary by director Boyle; web production diaries; 2 short films with introduction by Boyle; commentary by director Boyle; commentary by Dr. Brian Cox, University of Manchester; enhanced viewing mode with the filmmakers of Sunshine; Journey Into Sound – surround sound enhancement; and the theatrical trailer in high definition.[64] As of 17 February 2008, Sunshine had grossed $15.83million in rental sales.[65] A UMD version of the film for the Sony PlayStation Portable was released on 17 December 2008.[66] A supplemental viewing option for the film in the media format of Video on demand is available as well.[67]
Reception
Critical response
The film was moderately well received in the UK by critics.[68][69] However, many found the last reels disappointing, with one critic suggesting the switch to "slasher movie" mode might have been inserted to appease teenage audiences.[70]
Among mainstream critics in the US, the film received generally positive reviews.[71] The film holds a 76% approval rating on Rotten Tomatoes based on 169 reviews, with an average rating of 6.80/10, and the consensus that "Danny Boyle continues his descent into mind-twisting sci-fi madness, taking us along for the ride. Sunshine fulfills the dual requisite necessary to become classic sci-fi: dazzling visuals with intelligent action."[72] At Metacritic, which assigns a weighted average out of 100 to critics' reviews, the film received a score of 64 based on 34 reviews.[71]
Sean Axmaker, writing in the Seattle Post-Intelligencer, said the film presented a "visionary odyssey with a grace and awe and visual scope that calls to mind Stanley Kubrick's 2001: A Space Odyssey for a new millennium, with echoes of the industrial grunge and crew friction of Alien, the greenhouse ecology of Silent Running, even the unraveling sanity of Dark Star."[73] Film critic Roger Ebert in the Chicago Sun-Times referred to the special effects in the film as "convincing and remorseless" and that the film was at its strongest point when it "focuses on the sheer enormity of the mission and its consequences".[74] In Variety, Derek Elley wrote that the film was "gripping enough with its solid performances, good-looking CGI, underlying tension and resonant, iron-hard digital soundtrack. This film reflects education excellence."[75] He reserved praise for the production merits, noting, "Boyle generally directs fluidly, making the most of p.d. Mark Tildesley's sensible, not-too-futuristic sets, lensed with cool reserve by Alwin Kuchler."[75]
The drummed-up suspense at the end is not essential, since Boyle and Garland seem more interested in the metaphysics of the voyage; Tarkovsky's Solaris demonstrated that if you go all the way with the implications of such a situation, it's more interesting than using plot devices.
—Roger Ebert writing in the Chicago Sun-Times[74][76]
Conversely, writing for the San Francisco Chronicle, Mick Lasalle bluntly noted that the motion picture starts out "bad" and later "gets worse". He summed up his displeasure by stating, ""Sunshine" has nothing to offer, and this nothing is going to be offered relentlessly and earnestly, like a holy missive."[77] In a primarily negative review, Joanne Kaufman writing for The Wall Street Journal, called the film "a warmed-over stew of sci-fi and gothic horror". Unenthusiastic, she affirmed, "There are the predictable malfunctions that compromise the space craft, the banal speechifying about the fate of mankind, the issue of who will live and who will die. Who cares? The characters are so sketchily drawn that it's hard to keep them straight, let alone get worked up about their survival."[78] Also describing an unfavourable opinion, Marrit Ingman of The Austin Chronicle professed the film exhibited "problems which arise in the film's third act" which causes "a profoundly implausible plot turn that sends the movie skidding into bogeyman horror. It cheapens the sentiment, and the film doesn't recover."[79]
Nathan Lee of The Village Voice said the film "works despite feeling both over-familiar and over-ambitious. It crescendos with a legitimate sense of wonder (if not profundity) thanks in large part to the luminous and uncanny score by electro legends Underworld."[80] Writing for The New York Times, Manohla Dargis viewed director Boyle as a "first-rate, seemingly sweat-free entertainer" who always "sells the goods smoothly, along with the chills, the laughs and, somewhat less often, the tears." She went on to say, "He's wickedly good at making you jump and squirm in your seat, which he does often in Sunshine, but he tends to avoid tapping into deep wells of emotion."[81] Wesley Morris in The Boston Globe mused that if the film didn't "float your boat as a work of science-fiction, action, philosophy, heliocentrism, or staggering visual spectacle (although, it really should), then it certainly succeeds as a parable for cinematic ambition." He emphatically added, "The surface of this movie is plenty enthralling on its own."[82] Desson Thomson of The Washington Post commented that for the film, "The voyage works, beautifully. While we don't get the ticklish conceit of Scottish profanities in the celestial outer realm, we do get something surprisingly consoling: a deep sense of the humanity that we always carry with us, no matter how far we venture from home."[83]
Box office
The film was released commercially in its home country of the United Kingdom on 6 April 2007, taking £1,021,063 in 407 cinemas for its opening weekend.[84] The film also opened the same weekend in seven other markets, performing most strongly in Hong Kong (US$267,000), Taiwan (US$442,000) and Singapore (US$198,000).[85] On the weekend of 13 April 2007, Sunshine opened in 22 more countries, garnering US$5.3million for the weekend. Its French debut was the strongest with US$1.2million in 380 cinemas, but the film only had an average performance in New Zealand (US$120,149 from 36 cinemas), Switzerland (US$60,285 from 11 cinemas) and Finland (US$42,745 from 15 cinemas).[86]
The following weekend of 20 April 2007, the film's release expanded to 44 countries, garnering US$5.9million for a total of US$18.6million thus far, considered a disappointing amount. Sunshine had poor debuts in Spain (US$1million), Germany (US$638,549), and Italy (US$453,000).[87] By the end of April, Sunshine had opened to most countries, with the notable exception of the United States, for which a release date had yet to be established at the time.[85] The film's cinematic run in the UK lasted twelve weeks, totaling £3,175,911.[88]
The film was released everywhere else in the two countries the following weekend of 27 July 2007.[62] In the film's first wide release weekend in Canada and the United States, Sunshine took US$1,262,996 in 461 cinemas, ranking no. 13 at the weekend box office.[89] In its theatrical run, the film took a worldwide gross of US$32,017,803.[3]
Accolades
The film won the award for Best Technical Achievement from the British Independent Film Awards 2008 and was nominated for several other awards in 2007–08.
Daniel Michael DeVito Jr. is an American actor and filmmaker. He gained prominence for his portrayal of the taxi dispatcher Louie De Palma in the television series Taxi (1978–1983), which won him a Golden Globe Award and an Emmy Award. He plays Frank Reynolds on the FXX sitcom It's Always Sunny in Philadelphia (2006–present).
Trainspotting is a 1996 British black comedy drama film directed by Danny Boyle, and starring Ewan McGregor, Ewen Bremner, Jonny Lee Miller, Kevin McKidd, Robert Carlyle and Kelly Macdonald in her film debut. Based on the 1993 novel by Irvine Welsh, the film was released in the United Kingdom on 23 February 1996.
Daniel Francis Boyle is an English director and producer. He is known for his work on the films Shallow Grave (1994), Trainspotting (1996) and its sequel T2 Trainspotting (2017), The Beach (2000), 28 Days Later (2002), Sunshine (2007), Slumdog Millionaire (2008), 127 Hours (2010), Steve Jobs (2015), and Yesterday (2019).
28 Days Later is a 2002 British post-apocalyptic horror film directed by Danny Boyle and written by Alex Garland. It stars Cillian Murphy as a bicycle courier who awakens from a coma to discover the accidental release of a highly contagious, aggression-inducing virus has caused the breakdown of society. Naomie Harris, Christopher Eccleston, Megan Burns, and Brendan Gleeson appear in supporting roles.
Alexander Medawar Garland is an English author, screenwriter, and director. He rose to prominence with his novel The Beach (1996). He subsequently received praise for writing the Danny Boyle films 28 Days Later (2002) and Sunshine (2007), as well as Never Let Me Go (2010) and Dredd (2012). In video games, he co-wrote Enslaved: Odyssey to the West (2010) and served as a story supervisor on DmC: Devil May Cry (2013).
Las Vegas is an American comedy-drama television series created by Gary Scott Thompson. It was broadcast by NBC from September 22, 2003, to February 15, 2008, airing for five seasons. It focuses on a team of people working at the Montecito, a fictional hotel and casino on the Las Vegas Strip. The employees deal with various issues that arise within the working environment, ranging from casino security to restaurant management and valet parking. Las Vegas starred James Caan, Josh Duhamel, Nikki Cox, James Lesure, Vanessa Marcil, Molly Sims, Marsha Thomason, and eventually Tom Selleck. The series originally centered on Ed Deline (Caan), a strict ex-CIA officer who serves as the president of operations for the Montecito. Former Marine Counterintelligence/HUMINT (CI/HUMINT) officer, Danny McCoy (Duhamel), who is Ed's protégé, later becomes the Montecito's new president.
Peter Lawrence Boyle was an American actor. He is known for his character actor roles in film and television and received several awards including a Primetime Emmy Award and a Screen Actors Guild Award.
Hiroyuki SanadaOBE is a Japanese actor. He has received numerous accolades, including two Primetime Emmy Awards, two Hochi Film Awards, two Japan Academy Film Prizes, a Mainichi Film Award, three Blue Ribbon Awards for Best Actor, four Kinema Junpo Awards, and honors from the Yokohama Film Festival. In 2018, he received the Medal of Honor with Purple Ribbon from the Japanese government for his "artistic developments, improvements, and accomplishments".
Dark Star is a 1974 American independent science fiction comedy film produced, scored and directed by John Carpenter and co-written with Dan O'Bannon. It follows the crew of the deteriorating starship Dark Star, twenty years into their mission to destroy unstable planets that might threaten future colonization of other planets.
John Murphy is a British film composer. He is a self-taught multi-instrumental musician who began his career in the 1980s, working with The Lotus Eaters, Thomas Lang, and Claudia Brücken. He has collaborated with directors Danny Boyle, Guy Ritchie, Michael Mann, Matthew Vaughn, Stephen Frears, and James Gunn.
Zathura: A Space Adventure is a 2005 American science fiction action-adventure film directed by Jon Favreau. It is an adaptation of the 2002 children's book Zathura by Chris Van Allsburg, author of the 1981 children's book Jumanji. It is a standalone spin-off of the 1995 film Jumanji and the second installment of the Jumanji franchise. The film stars Josh Hutcherson, Jonah Bobo, Dax Shepard, Kristen Stewart, and Tim Robbins.
Fortress 2: Re-Entry is a 2000 American-Luxembourgish science fiction action film directed by Geoff Murphy. It is the sequel to 1992's Fortress. In the film, the principal actor Christopher Lambert reprises his role as John Henry Brennick, still on the run from the MenTel Corporation. Lambert was the only original actor to reprise his role; Loryn Locklin, who played Karen B. Brennick from the first film, did not return for the sequel and she was played by Beth Toussaint.
28 Weeks Later is a 2007 post-apocalyptic horror film directed by Juan Carlos Fresnadillo, who co-wrote the screenplay with Rowan Joffé, Enrique López Lavigne and Jesus Olmo. It serves as a sequel to 28 Days Later (2002), and is the second installment overall in the film series of the same name. The movie stars Robert Carlyle, Rose Byrne, Jeremy Renner, Harold Perrineau, Catherine McCormack, Mackintosh Muggleton, Imogen Poots, and Idris Elba. It is set after the events of the first film, depicting the efforts of NATO military forces to salvage a safe zone in London, the consequence of two young siblings breaking protocol to find a photograph of their mother, and the resulting reintroduction of the Rage Virus into the safe zone.
Sunshine: Music from the Motion Picture is the soundtrack album for the 2007 Danny Boyle film Sunshine. It is a joint composition by the electronic band Underworld and film score composer John Murphy. Underworld has a long history of collaboration with Boyle, having been featured on the soundtracks of Boyle's Trainspotting, A Life Less Ordinary, and The Beach. Murphy composed the scores to Boyle's 28 Days Later and Millions.
Stargate Universe is a military science fiction drama television series and part of MGM's Stargate franchise. It follows the adventures of a present-day, multinational exploration team traveling on the Ancient spaceship Destiny several billion light years distant from the Milky Way Galaxy. They are now trying to figure out a way to return to Earth, while simultaneously trying to explore and to survive in their unknown area of the universe. The series, created by Brad Wright and Robert C. Cooper, premiered in the United States on Syfy on October 2, 2009. The series featured an ensemble cast and was primarily filmed in and around Vancouver, British Columbia, Canada. A second season of 20 episodes was announced by Syfy in December 2009.
"42" is the seventh episode of the third series of British science fiction television series Doctor Who. It was first broadcast on BBC One on 19 May 2007. It was the first episode written by Chris Chibnall, the showrunner and lead writer of Doctor Who from the 11th series to the 2022 specials.
Doomsday Machine, also known as Escape from Planet Earth, is an American science fiction film mostly filmed in 1967 but completed without the original cast or sets in 1972.
Trance is a 2013 psychological thriller film directed by Danny Boyle with a screenplay by Joe Ahearne and John Hodge from a story by Ahearne. It stars James McAvoy, Vincent Cassel and Rosario Dawson. The world premiere of the film was held in London on 19 March 2013.
T2 Trainspotting is a 2017 British black comedy-drama film directed by Danny Boyle and written by John Hodge. Set in and around Edinburgh, Scotland, it is based on characters created by Irvine Welsh in his 1993 novel Trainspotting and its 2002 follow-up Porno. A sequel to Boyle's 1996 film Trainspotting, T2 stars the original ensemble cast, including leads Ewan McGregor, Ewen Bremner, Jonny Lee Miller, and Robert Carlyle, with Shirley Henderson, James Cosmo, and Kelly Macdonald. The film features a new character, Veronika, played by Anjela Nedyalkova, and includes clips, music, and archive sound from the first film.
Life is a 2017 American science fiction horror film directed by Daniel Espinosa, written by Rhett Reese and Paul Wernick and starring an ensemble cast consisting of Jake Gyllenhaal, Rebecca Ferguson, Ryan Reynolds, Hiroyuki Sanada, Ariyon Bakare, and Olga Dihovichnaya. In the film, a six-member crew of the International Space Station uncovers the first evidence of extraterrestrial life on Mars. When members of the crew conduct their research, the rapidly evolving life-form proves to be far more intelligent and dangerous than expected.
↑ Crossley-Marra, Benjamin (19 July 2007). "Interview: Danny Boyle". ioncinema.com. Archived from the original on 10 January 2008. Retrieved 24 July 2007.
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