Sunrise
Sunrise
Generic dialogue, and the missing depth of most of the characters kills what is a sometimes interesting film, which is classic ‘Sunrise’, at its most effective when it has the rawness of one of the greatest vampire films there has ever been, ‘Near Dark,’ but that is never the case, almost. Again, we are in a dark geolocation, where hes never that menacing, where bigotry is permissible, and monsters are not always cold-blooded. The more ‘Sunrise’ chooses to play with that latter idea, the more persuasive it is, that the monsters of race and greed are far worse than bloodsuckers, but more often, it’s the tale of a MAGA monster and the terror he unleashes upon an immigrant family into which a vampire tale was clumsily inserted. It tries to unravel multiple issues related to foreigners being created against the very backdrop of the country that prompted their, almost, hostility, but it’s probably too much to ask for subtlety where it’s warranted and clarity where it would help immensely. A really mopey funeral of a film in which Guy Pearce gives a so performance, but the movie has no idea what it is about Guy Pearce or many of the quiet good once below it.
Pearce can perform in any role or in any genre with so much ease, and here he readily bites into the character of Reynolds who is introduced even more brutally; this time the character comes with a lot of abuse directed towards him as soon as he appears. At his peak, he recalls how men would have had dirt beneath their nails tending to crops and how they fought for the land. Pearce works great even when it comes to playing one of those ‘wow-it’s-me’ villains, though there are more reasons than just that to hate him – Pierce plays a ‘soft’ male white’s character, who possesses everything by force merely ‘by virtue’ of being a male member of society. He is not not only racist and violent, he is rather pitiful and Pearce manages to touch that side of Reynolds quite well, who is rather keen on “making America great again” just because of the fact that he has no purpose in the current one as it has no use for men like him.
Naturally, these kinds of men, like Reynolds, feel threatened by the presence of an immigrant family called Loi. This is a scene that brings into focus the tussle between his family and the Lois where the ‘head’ of the family (Chike Chan) who is the villain is full of anger and hatred. Edward, son to William Gao, is the boy who is intimidated at school, and Edward’s mother, played by Crystal Yu, is a survivor. Then, they become de facto guardians of a very brooding looking fella who is Fallon, Alex Pettyfer, a Hollywood God and Hollywood has not seen such a perfect casting in ages but Fallon is actually a vamp who have gotten more than enough of a vengeance against Reynolds. Pettyfer indeed mopes around the mere arc of “Sunrise,” as the character is significantly underwritten as a foreboding-eyed gentleman who barely finishes any lines due to long drawn dramatic pauses meant to heighten the tension but only draws more attention to the silence than intended.
“Sunrise” is a film so utterly ineffective at generating drama that I was quite astonished when it began to dawn upon me, rather unwittingly, that it had clarity which made it very compact. There is one impressive performance here, but everything else falls very flat in this film that decides to treat all aspects lacking consistency or a clear underlying storyline. In fact, that doesn’t exactly make things any better as it was all pretty good looking with too much bright lighting and lack of this kind of texture depth which in this kind of film is vital for it to work). In terms of visuals, it is a movie pregnant with so many notions but only a few are somewhat delivered on, and it is always struggling to contain an un-extended short into the length of a feature film. It’s a film that spills madly to stretch into the end credits without any script.
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- Genre: horror, Thriller
- Country: united states
- Director: Andrew Baird
- Cast: Alex Pettyfer, Guy Pearce, Crystal Yu
