#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – 50 years into the future, the Sun begins to die, and Earth is dying as a result. 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.
Plot: 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.
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|7.2/10 Votes: 234,798|
|7 Votes: 2600 Popularity: 16.732|
To say there is nothing new under the sun is usually apt in sunny Hollywood, but not this time
With a suitably international and diverse cast to simulate the equivalent crew onboard the Icarus II (“Icarus I” didn’t fare so well), director Danny Boyle fledges a science fiction that gains momentum at its very first image and does not halt until the end credits roll. To be perfectly frank, this is one of the most unbearably exciting films for whose entire duration I have ever squirmed in my seat for at the theatre.
On a mission to re-ignite the sun by detonating a bomb (“the size of Manhattan island”, Cillian Murphy’s physicist nods to American audiences and cause me to suffer horrible flashbacks to Armaggeddon’s “it’s the size of Texas” assessment) human lives are expendable and rationalized by rank. There are scientists, astronauts and various specialists on Icarus II who are all poised on the brink of sacrificing themselves for the greater good of mankind. Diverse in the sense that there are both men and women, and few characters are ‘black or white’ (morally, and physically), it does puzzle me that New Zealanders, Aussies and Irishmen have been arbitrarily converted into Americans. The crew is nevertheless highly impressive and professional, with a few minor exceptions for plot-propelling purposes, like when someone does something very stupid.
There is noticeably a tremendous visual sense throughout “Sunshine” with a screen that is awash with sparkling explosions and each frame saturated with bright colours and dimmed contrasts. There is no genre-transcending perhaps, and most probably its visuals are under the mercy of dating effects, but for now this is truly the crème de la crème of science fiction, take my word for it. Even the cinematography within the spaceship alleys and chambers is compelling and sweeps through Icarus II with great tracking shots. Amongst other films, Danny Boyle was inspired by Das Boot and certainly there are traces of the same claustrophobia underpinning the setting, but ultimately he opted for a more habitable environment to make it believable (like humanity would ship off its only hope with a crummy, crowded old vessel).
To justify the occasional bouts of sci-fi clichés, I’d like to firstly point out that it’s not like “Sunshine” traffics in stereotypes or resorts to formulaic elements, and secondly that I believe certain clichés have evolved for a reason they quite clearly stand the test of time. There are within science fiction some staples that are simply necessary to define its genre, such as the dutiful human sacrifices to up the drama, the internal mutinies to instill the uncertainty in the operation, the nightmarish conditions onboard the ship to suck you in, the technical jargon of velocities and shield angles that spits like bullet-fire to give the film a firm scientific footing, and finally the epic music to elevate suspense. “Sunshine” incorporates and melts together all of the aforementioned, but in militantly non-formulaic ways that only add to the experience. As a potent example, there isn’t just pedestrian classical tunes recycled from 2001 and filtered through N/A’s score it is puffed full of beautiful piano crescendos that are almost incongruous to the sci-fi vibe, and the cumulative effect is wonderful.
“Sunshine” is sporadically blemished by minor faults, such as when Murphy’s Law is being followed a bit too rigorously to up the excitement. Luckily, all of this is washed away or camouflaged when Boyle serves up his next goosebumps-inducing, gasp-eliciting spectacle be it a horror twist or an impossibly epic action stunt. On the topic of the former, and clearly the chiasma at which “Alien” comparisons have been drawn, there is a magnificently creepy horror/mystery vibe interlacing the story in space. On top of this, Danny Boyle also dabbles in existentialism (a little too much if you ask me), making this into one of the most ambitious sci-fi turns ever made. In this way, maybe “Sunshine” is not primed to collect awards or even serve as meat for mainstream Hollywood, but I think it’s safe to crown it the “Alien” of the 21st century.
8 out of 10
The sci-fi story of “Sunshine,” where a mission is sent to outer pace to restart the dying Sun by means of a big bomb and which eventually devolves into an “Alien” (1979) slasher flick is pretty dumb–conjuring memories of the shorter trip of “Armageddon” (1998) or reverse-direction preposterousness of “The Core” (2003). Naming the spaceships “Icarus I and II” has a neat symmetry with the hubris of an unscientific decision to alter the craft’s trajectory, although that, too, is reduced to wrestling matches between Scarecrow (Cillian Murphy) and the ironically freezing Captain America (Chris Evans), formerly the Human Torch, but forget that the story is generic or unrealistic. “Sunshine” is a spectacle. The brilliance of a trip to the Sun is that the star cannot be directly observed, lest you go blind. It’s so powerful that the laws of physics seem to brake down as it’s approached. Seen this way, the disjointed, flashy, nearly incomprehensible, celestial imagery near the end of the picture seems to make sense. As much as the sci-fi is about achieving the impossible, the visuals, likewise, are about seeing what can’t be seen.
That is, unless it’s filtered, as through the shaded view of the window-framed star as obsessed over by Cliff Curtis’s ship’s doctor character–or as through the camera lens. These framed views of the Sun, or those reflected off the surface of the ship, place the stellar body as a film-within-the-film. In the end, it’s also tied with the video that Murphy’s physicist sends home to Earth. The sun of cinema’s heliocentric universe is equally, if not more so, unseeable. Usually, it’s not even directly acknowledged–at most, only obliquely so, as here. It’s us, the spectator. Yes, you’re the center of the cinematic universe. Come to think of it, I guess that makes movies a geocentric, or rather egocentric, world. This is where the invasive, slasher-film figure comes into play.
I’m not a big fan of such horror movies, but I appreciate the origins of the subgenre in films such as “Psycho” (1960) and “Halloween” (1978). And, yes, I think these are as relevant filmic citations as the usual “2001: A Space Odyssey” (1968) and “Solaris” (1972) ones brought up when discussing “Sunshine.” From the peeping-Tom Norman Bates to the masked Michael Myers, the psychopath murderer has always been something of an on-screen surrogate for the spectator–not wanting to be seen, but facilitating the continuation of a plot of action and death. Don’t pretend it’s not what many of us want to see on screen; we’re sadistic voyeurs. The star-like figure that haunts this ship operates largely the same way, although there’s also a silly, quasi-religious aspect to all of it. Point it, this is the spectator who has flown too close to the Sun. He can never be entirely directly seen, like us watching the movie, like the film-within-the-film Sun. It’s when all of these forces are interacting with the usual character-driven drama that the juxtaposition of images become stunning. Their alignment with a shared dream–dreaming also being analogous to cinema–just furthers the effect. On top of this, we even get a lovely score. “Adagio in D Minor,” in particular, has proved a popular reoccurring theme in motion pictures, especially movie trailers, but also for scenes in such subsequent pictures as “Kick-Ass” (2010).
Not to diminish some splendid cinematography, editing and effects, but director Danny Boyle and writer Alex Garland seemed to have a good thing going here. They previously made another visually-interesting picture that was well integrated with what was kind of a dumb story about zombies, “28 Days Later.” From here, Boyle punched up the still-otherwise-perplexing-why Best Picture winner “Slumdog Millionaire” (2008), and Garland went on to direct his own reflexive sci-fi features, “Ex Machina” (2014), “Annihilation” (2018).
Original Language en
Runtime 1 hr 47 min (107 min)
Genre Sci-Fi, Thriller
Director Danny Boyle
Writer Alex Garland
Actors Cliff Curtis, Chipo Chung, Cillian Murphy, Michelle Yeoh
Country UK, USA
Awards 1 win & 22 nominations.
Production Company DNA Films, Moving Picture Company, Ingenious Film Partners
Sound Mix Dolby Digital, SDDS, DTS
Aspect Ratio 2.35 : 1
Camera Arricam ST, Hawk C-, V-Series, Zeiss Master Prime and Ultra Prime Lenses, Arriflex 235, Hawk C-, V-Series, Zeiss Master Prime and Ultra Prime Lenses, Arriflex 435 Xtreme, Hawk C-, V-Series, Zeiss Master Prime and Ultra Prime Lenses, Arriflex 765, Zeiss 765 Lenses
Laboratory DeLuxe, London, UK (also prints), The Moving Picture Company (MPC), London, UK (digital intermediate)
Film Length 2,937 m (Portugal, 35 mm), 2,945 m (Sweden)
Negative Format 35 mm (Kodak Vision2 500T 5218), 65 mm (Kodak Vision2 500T 5218)
Cinematographic Process Arri 765 (source format) (one scene), Digital Intermediate (2K) (master format), Hawk Scope (anamorphic) (source format), Super 35 (source format)
Printed Film Format 35 mm