Source Code

I previously stated in one of my blog posts that I hoped for “a more nuanced blockbuster, somehow informed by arthouse”; and, with Duncan Jones’s new film, Source Code, it may have just arrived. That does not mean it is without its faults: it is simply an intelligent, ridiculous and fantastical film that will keep you talking long afterwards.

Jake Gyllenhaal plays U.S. helicopter pilot, Colter Stevens, who wakes up inside someone else’s body on an early commuter train heading to downtown Chicago. Opposite him is a woman, Christina (Michelle Monaghan), who appears to know him, even though he has no idea who she is. 8 Minutes later, a bomb blows the train up. Stevens is transported back to a strange, dungeon-esque cockpit where he is strapped in, in full military gear. Ignorant as to whether he is dreaming or not, he is given instructions by a curt air force officer, Goodwin (Vera Farmiga), who tells him that he is part of a “time reassigment programme” called the Source Code. Through this system, he must go back to the train in eight minute bursts and discover both were the bomb is and who the bomber is, with a view to preventing a future tragedy.

So far, so high concept. Despite being very much situated in far-fetched sci-fi territory, the breathless beginning of the film really draws you in. You watch, transfixed, and ask questions later. The movie’s trailer doesn’t really do the film justice, as it is more sci-fi thriller than action smash. Through the desperate and repeated trips back to the train, more is gradually (and cleverly) revealed about Colter, Christina and all of the other characters. There is a strong element of Groundhog Day about the repeated scenes and the humorous interaction of Gyllenhaal with the other passengers, but it is further mixed with the locomotive intrigue of Hitchcock and Murder on the Orient Express. Its concept even reminded me of La invencion de Morel.

Many echoes of Moon and sci-fi stereotypes crop up, such as Chesney Hawkes and the faintly evil scientist with a limp (Jeffrey Wright). However, much of the action is rooted in the human drama, as the desperate Colter begins to fall for Christina and forlornly hopes to save all of the passengers on board. I greatly enjoyed the film and was sucked in by the acting, inventive plot, crisp visual style and directing. What I couldn’t get away from was the ridiculousness of the final part of the film. Little be it for me to suggest that the film didn’t make complete sense, but that was the impression I got. If not, then the philosophy involved is somewhere way above my pay grade.

That and the potentially Hollywood feel of the ending aside, I thought it a tremendously engaging picture from a great young British director. It has everything: love, action, comedy and ideas. As I suggested, the fact it kept me talking for hours afterwards is just what I want from a blockbuster. Go and see it and make your own mind up – I and the Internet clearly haven’t [spoiler warning]. There’s no denying its fun or allure.