Fifty years into the future, the sun is dying, and Earth is threatened by arctic temperatures. A team of astronauts is sent to revive the Sun — but the mission fails. Seven years later, a new team is sent to finish the mission as mankind’s last hope.
Sunshine earns genuine admiration for its visual ambition and the sheer scale of its premise, with many critics drawing comparisons to classic science fiction. The fault line, however, runs almost exactly through the third act: what begins as cerebral, awe-inspiring hard sci-fi abruptly pivots into slasher-horror territory, and whether that shift is a fatal betrayal or a forgivable misstep is where critics firmly divided.
“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”
Sean Axmaker·Seattle Post-Intelligencer
“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”
Nathan Lee·The Village Voice
“problems which arise in the film's third act”
The Austin Chronicle
“Sunshine" has nothing to offer, and this nothing is going to be offered relentlessly and earnestly, like a holy missive”
Mick LaSalle·San Francisco Chronicle
“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”
Manohla Dargis·The New York Times
Science Fiction, Thriller
Fifty years into the future, the sun is dying, and Earth is threatened by arctic temperatures. A team of astronauts is sent to revive the Sun — but the mission fails. Seven years later, a new team is sent to finish the mission as mankind’s last hope.
Sunshine earns genuine admiration for its visual ambition and the sheer scale of its premise, with many critics drawing comparisons to classic science fiction. The fault line, however, runs almost exactly through the third act: what begins as cerebral, awe-inspiring hard sci-fi abruptly pivots into slasher-horror territory, and whether that shift is a fatal betrayal or a forgivable misstep is where critics firmly divided.
“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”
Sean Axmaker·Seattle Post-Intelligencer
“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”
Nathan Lee·The Village Voice
“problems which arise in the film's third act”
The Austin Chronicle
“Sunshine" has nothing to offer, and this nothing is going to be offered relentlessly and earnestly, like a holy missive”
Mick LaSalle·San Francisco Chronicle
“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”
Manohla Dargis·The New York Times
Science Fiction, Thriller