Sunrise is a thriller that is full of atmospheric depth as it examines murder, xenophobia and racism through the eyes of a carefully crafted horror medium. Those who have been cursed are treated like blood lust junkies in this tense movie. They must roam dark woods shrouded in mist as feared beasts known only as “The Red Coat” until destiny steps in. But the film’s promising beginning and real-world issues quickly derail into an uninteresting third act ruined by bad editing.
Taking place in the Pacific Northwest, an Asian widow and her children find themselves under attack from a brutal white supremacist saved by a mysterious vampire-like drifter. It starts off with farm owner Loi played by Chike Chan sitting quietly before Reynolds portrayed by Guy Pearce with his tough looking cronies who sit across him. He never flinches even when showered upon cruel racial slurs.
Loi refuses to sell his property no matter what because he knows they did nothing wrong while yelling at them saying leave us alone we just want peace here!! Reynolds explodes violently claiming that they are cancers on this earth which needs cleansing out immediately otherwise known as principle-based elimination methods.
Six months later after being bullied yet again at school one day Edward (William Gao) returns home bruised up but does not reply when asked what happened to his face by younger sister Emily (Riley Chung) and mother Yan (Crystal Yu).
Reynolds owns everything including people’s lives now especially hers too which she finds out when bumping into sneering Reynolds while shopping at local grocery store where he works part-time during evenings
He hears strange sounds coming from inside barn so decides check it out only see someone lying motionless within shadows whom upon hearing whisper dryly “I need blood” recoils fearfully asking “Are you…Red Coat?”
Sunrise relies heavily upon strong acting performances early on. The always great Guy Pearce drips lethal venom as racist bad guy Reynolds who is essentially what would happen if you mixed Donald Trump with Hitler. In his eyes immigrants are ruining America mentally and physically inferior to whites dragging down society through miscegenation that dilutes pure white bloodlines among other things.
Reynolds’ worst nightmare comes true when he finds daughter (Sophie Boldt) has been smitten by none other than Edward himself – this only breeds further contempt within him sparked long ago by domineering mother’s Olwen Fouéré teachings which taught them both how deal ruthlessly any opposition or difference encountered throughout life
But Crystal Yu represents opposite end where she reminds Edward about their family’s struggle towards achieving American dream once more before saying current predicament just another bump along road for us but don’t be fooled kid we all know what that bastard did to our father
First act doesn’t tell us anything we need know Alex Pettyfer’s character nor does Edward have any idea whether he’s man or demon but doesn’t scare little sister so there some attraction going there already which gets explained later as story unfolds itself doubt stranger’s worth disappears after powers displayed front eyes his mother sees men abilities possessed now it becomes clear retribution overdue very long time ago
In the past, Director Andrew Baird collaborated with Pearce in the underrated sci-fi thriller Zone 414; and to avoid most vampire tropes, he does it all over again. It’s not a bat that The Red Coat turns into nor does he hunt virgins in a cape. He needs blood like an addict needs a fix — it doesn’t have to be human, but without it he’s weak and frail. That’s where the indigenous mythology comes in for Sunrise — although unfortunately once the script starts to unravel around this point, you might find it taking some predicted turns.
Pettyfer’s true identity is revealed, lands with a thud and then goes in an obvious direction that makes little sense for anyone involved; Reynolds’ foaming-at-the-mouth obstinacy becomes a crutch for stupidity — this man ruled so many with an iron fist but can’t smell something peculiar about his latest enemy?
It also affects Yan who acts irrationally during a scatterbrained climax; now the movie has devolved into manufactured tension after smartly avoiding the easy route before.
A baffling ending threatens to sink the whole narrative: It occurs in a random setting that has nothing to do with what has transpired thus far. Clumsy blocking, character hysteria and odd editing make the action look foolish; there’s no cinematic flow at all to this finale, which feels haphazardly staged — like a pivotal connecting scene was missing. Which is especially disappointing because until its contrivances overwhelmed it, Sunrise had been so different within horror.
There is another aspect of “Sunrise” that must be touched on. Much like Clint Eastwood’s treatment of Asians in “Gran Torino,” if Reynolds’ vitriol had been directed towards any other race besides Asian people, there would have been uproar about this film. This isn’t added criticism, however it is worth noting and speaks volumes — hard truths can’t be ignored.
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