Movie Review Win Win

Win Win (2011) 

Directed by Tom McCarthy 

Written by Tom McCarthy

Starring Paul Giamatti, Burt Young, Amy Ryan, Bobby Cannavale 

Release Date March 18th, 2011 

Published March 17th, 2011 

Mike Flaherty (Paul Giamatti) is struggling. His law practice is not making any money and the stress has begun to manifest itself in breathless panic attacks that mirror heart attack symptoms. Mike needs money and when he stumbles across an opportunity to make some money through an ethical loophole with one of his clients (Burt Young) he takes it.

Since "Win Win" is a movie we know that Mike's decision will have very particular consequences or it wouldn't be in the story. What writer-director Thomas McCarthy creates in order to arrive at those consequences and the wealth of emotions involved in when and how Mike's ethical lapse is revealed is the hook of "Win Win," a small human story about a good man whose flaws cannot mask his true nature.

Paul Giamatti is spectacularly well cast as Mike Flaherty. His unique face communicates worry and sadness while his clipped line delivery makes him sound desperate and close to out of breath even when he's in a relaxed moment. Giamatti's nervous energy has been his calling card since his breakthrough performance in Howard Stern's "Private Parts" through his rise to stardom in "Sideways."

Alex Shaffer plays Kyle in "Win Win." Kyle is the main complication to Mike's money making scheme. Having run away from home and being only 16 years old, Mike and his wife Jackie (Amy Ryan) are forced to take Kyle in while they sort out the situation with his mother and his Alzheimer's afflicted grandfather. The connections between these characters are something I want you to discover by seeing the movie.

The movie poster shows Kyle in wrestling gear sitting next to Mike. Wrestling appears in Win Win as both literal, Mike coaches a High School wrestling team and as a clever undercurrent to the main story as Mike wrestles with his conscience over his scheme, and, more importantly, about how not to get caught while Kyle wrestles with his past including his recovering drug addict mother (Melanie Lynskey) who also has a connection to Mike's scheme.

Writer-director Thomas McCarthy has an eye for small human stories. He was the writer and director of "The Station Agent," a small highly observant and smart picture about unique characters who form an odd family. McCarthy then directed "The Visitor," another film about unlikely family ties, this time an older white college professor and a young, immigrant African man and wife.

McCarthy approaches these stories with compassion and a thoughtful curiosity about how his characters live from day to day and how they interact with changing circumstances that are mundane by movie standards but are things real people are experiencing everyday. "Win Win," like "The Station Agent" and "The Visitor," is a warm, kind and modestly funny movie that compels you with great characters who reflect lives you can relate to, sympathize with and still be entertained by.

Movie Review Push

Push (2009) 

Directed by Paul McGuigan

Written by David Bourla 

Starring Chris Evans, Dakota Fanning, Camilla Belle, Ming Na, Cliff Curtis 

Release Date February 6th, 2009

Published February 5th, 2009 

Director Paul McGuigan directed the clever, funny, con-man comedy Lucky Number Slevin. It was his first feature and it should have portended great things for his career. Sadly for his Slevin follow up McGuigan chose Push, a terribly goofy comic book movie about psychic superheroes and a government conspiracy. Where Slevin was endlessly inventive, Push is predictable and sloppy.

What a shame.

Handsomely mild actor Chris Evans stars in Push as Nick a man on the run since his father was hunted down and murdered by a mysterious  government entity. Since then Nick has lived off the grid in Japan hoping to keep a low enough profile to be left alone. That all changes when Nick is discovered by a teenage psychic named Cassie (Dakota Fanning) who has had a vision about him and her and their deaths.

On the bright side, she's also had a vision about a young woman named Kira (Camilla Belle) who may be able to save them. Kira is the only person ever to escape from the shadowy government forces chasing Nick and Cassie and if they find her she could be the key to bringing the conspiracy down. Add in a helpful psychic con man (Cliff Curtis) and another more powerful psychic hiding out as a fake psychic (Ming Na) and you have a misfit team ready for battle.

The premise of Push plays not at all unlike the TV series Heroes. Both are about shady conspiracy, hunting down people with special abilities and wild special effects. Both are also wildly divergent in quality, Heroes can vary from week to week with good episodes and not so good ones. Push has one chance to work and fails.

I have been a little dismissive of the story potential of Push. There is certainly nothing wrong with a comic book style movie about superheroes. The key is making those heroes compelling and their journey interesting beyond their powers. Director McGuigan and screenwriter David Bourla fail this by vaguely defining the powers and muddying the government conspiracy premise.

Not that a cleaner narrative might have made much of a difference. The super powers on display, people pushing other people with their minds or controlling objects with their minds or seeing the future, simply are not all that interesting. The best superheroes have powers that comment on their personality. The abilities reflect the man (or less often the woman) and we learn something about them through their uniqueness.

No such comment or reflection emerges from Push. Instead we have a series of dull, uninspired effects scenes.

I expected much more from Director Paul McGuigan. Lucky Number Slevin was the kind of debut that promises so much more from a director's future. It was a far from perfect movie but a clever, funny, imaginative film. Push is nearly the complete opposite. Derivative and uninspired, Push is disappointing beyond Director Paul McGuigan. It's disappointing to have to have sat through such a lacking effort.

Movie Review Mr. Brooks

Mr. Brooks (2007) 

Directed by Bruce A. Evans 

Written by Bruce A. Evans, Raynold Gideon 

Starring Kevin Costner, Demi Moore, Dane Cook, William Hurt, Marg Helgenberger

Release Date June 1st, 2007 

Published May 31st, 2007

The career of Kevin Costner has had many ups and downs. He has been one of the biggest stars in the world and People Magazine's sexiest man alive. He's also been the most reviled man in Hollywood and a grand punch line after his triple failures, Waterworld, The Postman and Wyatt Earp. He has recently tried to reinvent himself as a character actor and a comeback kid, a perception fed by well received performances in The Upside of Anger and Open Range.

Now however, as he tries to reclaim leading man status; Costner is once again flailing. First, there was the disastrous Rumor Has It, a pseudo sequel to The Graduate with Costner as a middle aged Ben Braddock. Now comes Mr. Brooks a disaster of a different kind, one that isn't really Costner's fault.

"The Hunger has returned to Mr. Brooks, it never really left"

That is the opening title card to the new thriller Mr. Brooks, a title card that thrusts us into the midst of the madness of a man named Earl Brooks (Kevin Costner). Earl is a proud father, a loyal husband and a respected businessman who runs a major box company. However, in his spare time he is the thumbprint killer, a maniac who likes to pose his victims after killing them and then get off over the photos he takes.

He has been at this for years and for years has been careful to not get caught. He even managed to stop killing for 2 whole years with the help of  weekly A.A meetings, though alcohol never played a part in his compulsion. Then the hunger returned and he selected a pair of victims. Unfortunately, he wasn't as careful as he used to be. He left the curtains open and across the street, an amateur cameraman saw him commit murder.

Luckily for Mr. Brooks the cameraman, call him Mr. Smith (Dane Cook), is a sick puppy like himself. Smith doesn't want to turn Brooks over to the cops, rather he wants to learn from Mr. Brooks, he wants to kill. Thus sets up an uncomfortable partnership between the steely, calculating Mr. Brooks and the unnerved novice Mr. Smith.

That is just one of several plots running concurrently in this rather misguided take on the Dr. Jekyll, Mr Hyde mythos. Also jammed into this plot is a backstory and sub-storyline for Demi Moore as the cop investigating the thumbprint killer and another different killer and a credulity stretching plot for Danielle Panabaker as Mr. Brooks' daughter who may have inherited the serial killer gene.

A glance at director Bruce A. Evans' resume offers a few clues as to why Mr. Brooks  turned out so goofy. Evans wrote the lauded screenplays for epics like Cutthroat Island, Jungle 2 Jungle and Kuffs, a Christian Slater guilty pleasure that he also directed. Curiously, Evans hasn't directed since Kuffs. Maybe he was waiting for something that could match the goofball pleasures and squirm inducing discomfort of that early nineties crime comedy.

Mr. Brooks is certainly goofy but it's not supposed to be. It's intended to be a thriller but thrills are in short supply compared to the unintentional laughter induced by some of the bizarre choices made. There are more than a few moments of unintended humor such as watching comic Dane Cook attempt to appear credible as an actor opposite the veteran Costner. The disdainful glare of Costner's Mr. Brooks towards Cook's Mr. Smith plays like Costner's silent commentary on his co-star.

Despite the loopy plots and unintentional humor there are a few honest pleasures in Mr. Brooks, not least of which is the chemistry between Kevin Costner and William Hurt. These two veteran actors are so in sync and so on the money that you hate the movie for the constant interruptions of their interplay. Taking time out for Demi Moore's lame backstory and a search for another serial killer aside from Mr. Brooks and the daughter's story and Dane Cook's story all serve to upstage the film's one and only asset, the Costner-Hurt duo.

In the few moments that Costner and Hurt get to play we actually get to dig into Mr. Brooks' character and find out how he ticks and why he does what he does. The potential is there for a very unique take on the classic serial killer picture, a movie from the killer's perspective. Few killers are as uniquely villainous as Mr. Brooks, the upstanding businessman and father who happens to be a serial killer.

What a waste, Mr. Brooks had all sorts of potential and wasted it all on dopey, distracting subplots. Director and co-writer Bruce A. Evans is not a bad director really, just inexperienced with a seeming lack of confidence. Evans lacked the courage to jettison what was clearly not working and focus things where they were working, with Kevin Costner and William Hurt riffing and roaring.

Oh, what might have been.

Movie Review: 28 Days Later

28 Days Later (2003) 

Directed by Danny Boyle

Written by Alex Garland 

Starring Cillian Murphy, Noah Huntley, Naomie Harris, Brendan Gleeson, Christopher Eccleston

Release Date June 27th, 2003 

In 2003, while the masses sought out mindless entertainment real film fans were eagerly anticipating the release of a much buzzed about British horror film that portended the end of the world. Oh yeah and it's got zombies. 28 Days Later, from Trainspotting auteur Danny Boyle, was released some 6 months earlier  worldwide, creating an anticipation among American horror and indie film fans. When 28 Days Later finally reached the States, it had not lost any of the buzz. 

The Plot

In a scenario that likely made Republicans smile, a group of animal activists break into a research facility and release a group of monkeys who they believe are being abused. Unfortunately, the monkeys happen to be infected with a disease that the doctors call the rage virus. The infection is passed by blood and when the monkey bites a human, it takes little more than 30 seconds before that person becomes a mindless flesh-eating zombie. The zombies can be killed like any normal human being but they are also excessively quick and strong.

Within 28 days, the virus has spread throughout the whole of Britain. Only a few lucky people remain uninfected. One of the uninfected is Jim (Cillian Murphy) who has just awakened from a coma to find the hospital entirely empty. He then finds the neighborhood around the hospital empty, then finally all of London. That is until he stumbles into a church filled with zombies.

Jim escapes with the aid of a pair of survivors, Mark (Noah Huntley) and Selena (Naomie Harris). They give Jim the 411 on what has happened since his coma and then accompany Jim to his parent's home where he finds his parents dead. It's not long before the zombies arrive there and Mark is killed by Selena after he is bitten. As she has explains to Jim, if someone is infected you have only seconds to kill them before they turn. She won't hesitate to kill Jim if the same happens to him.

The two then venture out to find new shelter and stumble upon a father and daughter (Brenden Gleeson and Megan Burns) who are hiding out in what remains of their apartment building. Though they have had little to no interaction with the outside world, they have heard what they believe is a recorded message on the radio about some military officers who may have a cure for the virus. Whether that is true or not, the soldiers at least offer protection from the zombies and that is good enough to get them on the road. Once arriving at the military base, they find a ramshackle crew who is no more well prepared than they are.

When 28 Days Later arrived in theaters in 2003, it arrived in the wake of September 11th, 2001. It arrived in America in a moment of great panic, fear, and paranoia. Newspapers and TV broadcasts stoked the flames with stories about Anthrax in the mail, Monkeypox potentially becoming airborne, and the looming specter of terrorism, violent, biological, or otherwise. Thus, a movie about a fast spreading virus leaving city streets littered with bodies and the detritus of abandon, was one that felt immediate and relevant. Without intending to, director Danny Boyle had tapped the zeitgeist in a most urgent fashion. 

Though the zombie thing gives the film a far-fetched feeling, the grave fears of terrorism and disaster  comes in Boyle's camerawork that has a mind’s eye feeling to it. It's unsettling the way in which the camera, under the guidance of future Academy Award winner Anthony Dod Mantle, becomes like a dream from your own mind. The washed out look of 28 Days Later feels like it comes from your subconscious, formed by your own fears and anxiety the state of the world. 

There is no camp in 28 Days Later, nothing that breaks the immersion. Danny Boyle's incredible vision is unrelenting. Where other horror films tend to undercut the horror with a sense of bleak humor, Danny Boyle shows no interest in letting the audience get comfortable or take a breath. The atmosphere of 28 Days Later is oppressive and all encompassing until it reaches the ending. Only once the credits have begun to roll are we in the audience able to relieve the tension. A cleansing breath finally comes once the lights began to come up but, for me, the visceral effect of 28 Days Later lasted until the following day when I was finally able to shake it from my subconscious. That's just how effective 28 Days Later is. Even today, 22 years later, the experience of 28 Days Later on the big screen lingers in my mind, drawing me back to that anxious, post 9/11 world. 

Movie Review: Yesterday

Yesterday (2019) 

Directed by Danny Boyle 

Written by Richard Curtis 

Starring Himesh Patel, Lily James, Joel Fry, Ed Sheeran, Kate McKinnon 

Release Date June 28th, 2019 

Published June 27th, 2019

Yesterday was a complete delight. Directed by the ingenious Danny Boyle, Academy Award winner for Slumdog Millionaire, and Love, Actually writer-director Richard Curtis, Yesterday is charming, romantic, and quite funny. The acting is wonderful as well with a core duo of newcomer Hamish Patel and Lily James providing romantic and friendly chemistry that leaps off of the screen. All of that, and some of the greatest music of all time and Yesterday becomes irresistible. 

Jack Malik (Patel) has spent 10 years trying to make his music industry dreams come true with no success, but with his trusted friend and manager Ellie (James) always at his side. Despite Ellie’s constant support, Jack finally appears ready to give up his dream and return to teaching when something dramatic happens. On his way home from his last gig, Jack gets in an accident just as all of the electricity on the planet goes out for 12 seconds. 

When Jack wakes up in the hospital the following day, minus his front teeth, he makes a reference to The Beatles that Ellie dismisses in unusual fashion. Later, after Ellie gives Jack a guitar to replace the one he lost in the accident, Jack goes to play “Yesterday” by The Beatles and his friends react as if they have never heard the song before. A confused Jack returns home in a rush and begins googling The Beatles only to find that they no longer exist in any way. 

Apparently being the only person on the planet who remembers The Beatles songs, Jack decides to start performing Beatles songs from memory, not without a serious struggle, as if he had written them. Jack finds success in a fashion not unlike the Fab Four, with a brief struggle and then a massive breakout, all while Jack wrestles with his conscience over the decision to capitalize off of someone else's art and his relationship with Ellie which he has misjudged for the past 20 years. 

Director Danny Boyle is a directorial chameleon, leaping from genre to genre, country to country and masterwork to mediocrity. Yesterday, thankfully, is in the masterwork category. While the movie is minor in social relevance, unlike his Steve Jobs or Slumdog Millionaire, it is masterful as a work of genre. Yesterday is gloriously, ridiculously, heart on its sleeve romantic in ways that modern Hollywood has struggled to be for decades. 

Much of the credit, of course, goes to screenwriter Richard Curtis, who has been at the forefront of the romance genre since the 90’s and the release of his Four Weddings and a Funeral. Curtis is a genius at giving a unique spin to the romantic cliches that are at the heart of the romance genre dating back to the early days of sound in film. What makes Yesterday even more unique is Curtis teaming with a visual master like Danny Boyle who places Curtis’s big romantic ideas into a wonderfully visual, eye-catching package. 

Of course, both Boyle and Curtis are helped by the fact that they have somehow secured the chance to use some of the greatest music of all time to tell their story. It’s famously not easy to get the rights to use the music of The Beatles in a project but the team of Boyle and Curtis were apparently enough to get this movie a break. Of course, I am sure, $10 million dollars in rights fees also helped their case. 

The music in Yesterday isn’t used as you might think. You might assume that Jack deploys the songs in a specific fashion related to his place within the story. Instead, the movie subverts expectations by having Jack simply record Beatles songs in an almost random order, just as he is able to remember them. It’s a clever approach that allows the story to exist outside of The Beatles. Was this done in case the producers could not get the rights to The Beatles and they acted accordingly in building the story? Perhaps, but the approach works nevertheless. 

The supporting cast of Yesterday is exceptionally well chosen. Kate McKinnon of Saturday Night Live fame plays Jack’s new, high powered manager who treats him like dirt even as she is giving him worldwide fame. McKinnon’s oddball dialogue which combines radical honesty with a sociopathic zeal, rarely fails to get a laugh in Yesterday. It’s a brilliant comic performance. McKinnon is backed up by pop star Ed Sheeran who sheds all pop star ego to play himself as a fan of Jack who is willing to compare himself to Salieri to Jack’s Amadeus in one particularly great scene. 

Yesterday, as I said at the start, is a complete delight. It’s a delight for any audience that gives it a chance but it is a special treat for fans of The Beatles. Yesterday is a love letter to The Beatles that balances idolatry and fandom without becoming overly precious. Yes, the film is entirely uncritical of The Beatles but it felt to me like a genuine appreciation and not overly worshipful. The Beatles are only part of this story and not the entirety of it. 

The heart of Yesterday is the romance between Jack and Ellie and the struggle to escape preconceived notions of romance and friendship. There is a warmth and complexity to Jack and Ellie’s relationship that I bought into simply because I loved these two actors so very much. Hamish Patel and Lily James are just wonderful together and I fully believed in their choices, from Jack being blind to Ellie’s feelings to her heartache and his revelation. It’s a simple but well portrayed arc and I think everyone who loves a good love story will appreciate it as much as I did. 

I was a little worried by the trailer for the film that Yesterday would simply be a movie with a clever premise and little more. What a wonderful thing to have all of my worries dashed in the first few scenes and then to grow more and more comfortably immersed in this movie as it unfolded. Yesterday invites you in and if you are open to it, especially if you love this music, and you simply fall in love with it. Yesterday is just so darn charming.

Movie Review: 127 Hours

127 Hours (2010) 

Directed by Danny Boyle 

Written by Danny Boyle and Simon Beaufoy 

Starring James Franco 

Release Date November 5th, 2010 

Published November 4th, 2010

While I have no doubt that The Social Network will be the movie that defines 2010 with its intimate commentary on the dividing time of net life and real life, 127 Hours is, for me, the movie that affected me the deepest. The unbelievably true story of adventurer Aron Ralston's fateful trip into Utah's Blue John Canyon is brought to life by director Danny Boyle and actor James Franco in ways that even Aron Ralston likely never imagined.

Aron Ralston was not one to pause for reflection, or really pause for anything. Always looking for the next adrenalin rush, Aron rushed off on the morning of April 26th 2003 without telling anyone where he was going. His plan was a day long canyoneering adventure that would have him home just after nightfall.

Along the way Aron met a couple of girls, Kristi (Kate Mara) and Megan (Amber Tamblyn) and after a brief, flirty sojourn into an underground lake, Aron is back on track and off again on his own but with plans to possibly see the girls again. That plan would have to wait as not long after leaving them behind, Aron grabs hold of the wrong rock over the wrong canyon and ends up falling with the rock right behind him.

The rock lands on Aron's arm pinning it against the canyon wall and leaving Aron stranded miles from where any other adventurer is likely to go. For the next 4 days Aron Ralston will subsist on a pair of uncooked burritos, a modest amount of water and urine and a strong will to live. During this time he will narrate some of his time on his video camera in between bouts of trying to move the rock.

127 Hours would seem an impossible prospect for a movie. The focus is on one character in one very specific place for a very long time. There are flashbacks and fever dreams but surprisingly few of them. For the most part, director Danny Boyle trains his camera on James Franco and relies on Franco's face and vocal rhythms to carry the day and carry it he does.

127 Hours is a truly remarkable film, a nightmarishly visceral, painfully realistic rendering of Aron Ralston's remarkable written account aptly titled "Between A Rock and A Hard Place." With the aid of cinematographers Oscar Winner Anthony Dod Mantle and Enrique Chediak, director Danny Boyle exploits angles, colors other visual flourishes to give a strange action to a film that is mostly stationary.

And then there are the actual things that happened to Ralston during the time he was trapped. Boyle and Franco take a pair of Ralston's experiences and make them into major set pieces. The first is a frightening flash flood and the second is Aron's video, a moment that begins darkly humorous and turns deeply poignant.

Of course, the major set piece of 127 Hours is Aron finally making the move to cut off his arm between the wrist and the elbow. It begins just after the one hour mark with a single thrust of his dull multi-tool jabbed right to the bone. The visual of the tip of the blade resting against the bone, inside Aron's arm is striking not just in it's surreality but in the sheer force it carries, the way Aron's real pain becomes psychic pain for the audience.

Once the actual cutting begins, the bones broken, the tendons torn, 127 Hours screams with life towards a cathartic, emotional finish that even knowing the outcome cannot diminish. Danny Boyle's direction is so expert and James Franco's performance so winning and Aron's story is so life affirming that nothing can stop 127 Hours from getting under your skin.

127 Hours is the best movie of 2010, a richly emotional masterpiece. When I talk about why I love movies I will talk about the final moments of 127 Hours and the deep, convulsive gulps as I tried and failed to hold back tears of joy and the lurch of honest to goodness, physical exhaustion that is accompanied by A.R Rahman’s joyous, pulsing score. What a marvelous film.

Movie Review Sunshine

Sunshine (2007)

Directed by Danny Boyle

Written by Alex Garland 

Starring Cillian Murphy, Rose Byrne, Cliff Curtis, Chris Evans, Troy Garity. Michelle Yeoh

Release Date July 20th, 2007

Published July 19th, 2007

Director Danny Boyle hasn't always been my favorite director. I am one of the rare critics who found Trainspotting tedious. 28 Days Later was an undeniably impressive move into the horror genre. But with the release of his minimalist family drama Millions, I joined the Danny Boyle fan club. That was such a wonderfully small film with such grand ambitions that it burst from the screen.

Now, with his latest film Sunshine, Boyle once again shows that there is no genre limitation to his work. Sunshine is an intellectual dissection of morals, instincts and the basics of human nature all couched in a sci fi landscape with a dash of old fashioned horror movie tossed in for good measure. It's great idea that unfortunately gets lost in space.

Sunshine stars Cillian Murphy as science officer named Capa. A keep his own council type, Capa is the outcast of an international space flight crew that includes Captain Kaneda (Hiroyuki Sanada), Life support officer Corazon (Michelle Yeoh), Navigator Trey (Benedict Wong), chief mechanic Mace (Chris Evans), medical officer Searle (Cliff Curtis) and pilot Cassie (Rose Byrne.

This is the crew of Icarus 2, a crew charged with the modest task of saving the world. It's 2057 and the sun is dying. Soon the earth will be pitched into a permanent, lightless winter and all life will quickly die. The Icarus 2 project's goal is to kickstart the sun by precisely dropping a nuclear weapon, the size of Manhattan, into the center of the sun.

This is the earth's last best hope after the first Icarus project failed and was never heard from again. That is until Icarus 1 is heard from by Icarus 2. As the crew moved out of range of earth communications they found another signal in the middle of space. It's a several years old distress call from Icarus 1. Now the crew must decide whether to continue the mission as planned or to rendezvous with Icarus 1 to check for survivors.

The side trip would be beneficial to Icarus 2 which could take on a second nuclear payload and thus two chances to save the world. Also, Icarus 2 has suffered some damage on the way, so scavenging what they can from Icarus 1 could be a big help if the crew somehow manages a return flight home.

That is the surface area of Sunshine, a deep and disturbing idea from the fluid minds of the 28 Days Later team of director Danny Boyle and writer Alex Garland. Beneath the surface of this homage to Kubrick's 2001, is a terrific study in character and the effects of isolation on the brain. With a large and capable ensemble we witness unique human dynamics emerge and an intriguing study of people in confined spaces under intense pressure.

Interesting idea, but where do does the movie go from there? For Boyle and Garland the exercise in human endurance unfortunately devolves into a slasher plot involving the survivors of the original mission. Up until that plot emerges, and in minor moments thereafter, there are a number of really interesting and abstract  ideas in Sunshine.

Danny Boyle is a director highly skilled in crafting tense, character testing situations and filming them with precision. In Sunshine his skills take aim at a terrific ensemble cast and put them through a series of trials and tribulations that are eye catching and intense. Cliff Curtis is a standout as the medical officer who is drawn to the ship's observation deck for searing stares at the surface of the sun.

We don't truly understand his motivations but Searle's odd musings and matter of fact approach to his insane and painful sunlight obsession are quite intriguing. Also good is Michele Yeoh as the life support officer Corazon. In charge of the ship's oxygen garden, Corazon's cabin fever has bonded her to her plants as if they are her children. When an accident destroys most of the garden, it pushes Corazon to unexpected lengths. Her character is unexplored by the end of the second act but there is nevertheless some very fine work from the underrated Ms. Yeoh.

Sadly Rose Byrne, Troy Garrity and Chris Evans are, for the most part, cyphers. Portrayed as delicate, ignorant and determined in that order, each takes that one character trait and is able only to work that. Whether there wasn't enough screen time for each to go deeper in their character or if they just weren't that interesting and thus left on the cutting room floor, is undetermined. My guess would be the latter.

As for star Cillian Murphy, this is another strong performance from this peculiar performer. Murphy's odd physicality and palpable vulnerability give an interesting twist to his characters. These traits work especially well for Murphy when doing genre work as he did as the villain in the thriller Red Eye and as he does here in Sunshine. His uniqueness gives a different context to typical characters in typical movie situations.

Sunshine is an ambitious sci-fi epic that comes up just short of greatness. Bowing to commercial concerns, director Danny Boyle succumbs to the money men and abandons the idea driven elements of Sunshine in favor of 28 Days Later in space. This approach is no doubt more marketable but it's far less satisfying.

That said, there is enough good work, from the cinematography of Alwin Kuchler, to the terrific, for the most part, ensemble cast, to Boyle and Garland's many unfinished ideas, that I can give a partial recommendation to Sunshine.