But will Softbank take the same approach that Google did and just let Boston Dynamics and Schaft develop advanced robots for the sake of pushing the field forward? Or does it plan to merge them with its existing robotics teams in hopes of making robots like Pepper and NAO more appealing to consumers? R&D is expensive, and it’s safe to assume that Boston Dynamics and Schaft didn’t come cheap, so the company will almost certainly carefully balance both approaches, which means your dreams of a robot butler are suddenly a lot closer to becoming reality.
“ Sunshine ” (2007)
How Does It Dazzle ? Danny Boyle ’s restless nature makes for hopped-up, kinetic picture with a style and energy that’s often criticized for resembling a music video. It’s not a completely invalid criticism, but Boyle’s predilections mostly hew closer to the rhythms of music, editing and capturing a visceral moment rather than putting a premium on capturing beautiful images. There are exceptions throughout his career obviously, but the most obvious one is his 2007 science-fiction thriller, “Sunshine,” which is set 50 years from now and follows a team of scientists and astronauts who are sent to re-ignite the dying sun. So with the brightest star in the galaxy at the epicenter of this story, you can guess that the movie — tellingly not shot by Boyle’s regular, more low-tech DP Anthony Dod Mantle (instead it’s Alwin H. Küchler who shot “ Code 46 ,” and “ Movern Callar ”) — looks utterly radiant and breathtaking.
Style, Substance, Or Both ? This is up for debate in some circles, but visually, the film is completely apropos. It’s not Boyle’s favorite of his films because he had a tough time making it, and where its quality is concerned, many feel the movie is compromised by its silly third act that gets a little less “ 2001: A Space Odyssey ” and more “ Event Horizon ” or some Hollywood space thriller. We won’t argue that point so much, but the celestial look of “Sunshine” is never gratuitous and fits the material like a glove. The utterly incandescent glow of the movie is luminous and to be honest, its shining brilliance may have blinded you from some of the film’s problems as that first experience in the theater was perhaps the dictionary definition of “dazzling.”
Parry’s hurt is an insoluble wound, the unrestrained imagination of Gilliam boldly projecting his psychological firestorm and making manifest his loss. It’s not only Williams’ darkest performance (surpassing his more on-the-nose creepy roles in "One Hour Photo" and "Insomnia," in addition to the morose antisocial cameos in "Dead Again" and "The Secret Agent"), but also Gilliam’s most affecting and deepest turn as a filmmaker. Director and actor weave together perfect discord in madness, audaciously shifting from a moment of soul enlivening sweetness to one of crushing psychological mutilation, Parry deteriorating from the pose of confident wooer to one of hunched-over self-hatred. He screams in unintelligible and drooling fury at the memories that pursue him to the Hudson’s littered shore.