






 
|
 |
Source Code
(2011)
    
|
Director:
Duncan Jones
|
COUNTRY
USA/France |
GENRE
Science Fiction/Mystery |
NORWEGIAN TITLE
Source
Code |
RUNNING
TIME
93
minutes |
|
Producer:
Mark Gordon
Jordan Wynn
Philippe Rousselet |
Screenwriter:
Ben Ripley |
Review
Duncan
Jones’ follow-up to the simply brilliant
Moon is another discussion of the
concepts of identity and reality. Compared to Moon, however,
Source Code is much more of a scientific mess, but that doesn’t mean
that it lacks entertainment value or even thematic strength. In short,
this year's film is a hybrid between
Groundhog Day,
The Matrix
and
Inception, also borrowing some of those films' flaws. The
premise we're presented is enticing, as Jake Gyllenhaal time and time
again wakes up with the same 8 minutes of leeway on a train which is
about to explode. All that he seems to remember is that his name is
Colter Stevens, although that is not the name the woman across him
(Michelle Monaghan) refers to him by. She seems to know him, even though
he doesn't know her. The first time around he is completely
ignorant as to why he's there and what's going to happen, but by and by
he understands that he has an important role to play, and that if he
finds a way to stop the explosion, he might also be able to save
himself.
Despite the repetitive and deliberately obscured storytelling, we're
instantly sucked into the proceedings, because it is apparent that, as
with Moon, Jones is not primarily out to impress CGI buffs, but
rather to
challenge our minds and conceptions. Ben Ripley's
creative script is a good basis for this, and Jones also makes the characters and the action feel
remarkably real and close, well helped by Gyllenhaal's and Monaghan's faithful
performances. And although films with a premise such as this can be a
test for the viewer's patience, Jones handles this well (better than
Harold Ramis in Groundhog) by speeding up the repeating portions
of the narrative and adding some clever bits of comedy for good measure.
Of
course, films dealing with the concept and realization of time and/or
parallel dimensions will always face logical challenges which are almost
impossible to overcome, and ultimately, Source Code is no
exception. The film becomes less existentially interesting and more
trite once Gyllenhaal is given godlike powers in order for the
filmmakers to sneak in a
customary happy ending, but that's not an uncommon development when a
talented young filmmaker follows up an independent success with a
higher-profile studio-production. That being said, a far too neat ending
and a few logical fallacies cannot hide the talent at work in Source
Code or the fun and excitement they're able to concoct for large
portions of this film's running time.
|
|