There will inevitably be some who feel a little cheated by Duncan Jones' new film. With his 2009 cult classic "Moon", Jones very successfully created a very original and low budget science fiction drama which offered plenty of room for thought and urged you to replay scenes in your head to work out its many hidden depths. In traversing his new film, doing the same again will only point out some glaring plot holes upon its denouement. It should be made clear that Jones has not set out to make 'Moon .2'. "Source Code" is an obviously more commercial piece, more concerned with its high concept set-up, than answering many of the questions it asks in its plot. Now this is by no means a bad thing as I will tell you, rather it is something that must be expected when going into see this film. While there are many out there who might see this as the first eventual slide into crowd pleasing commercialism from Jones, they should first look at what he has crafted here, rather than base it on expectations they have for his career. Judge the film on its own merits and you will be very rewarded. Those going into "Source Code" having not seen the directors previous work, and therefore having no expectations apart from wanting to see a good film will be very satisfied indeed. "Source Code" is not "Moon" but it is the most clever and engaging blockbuster since "Inception".
Now a synopsis of the plot without passing into spoiler territory will be difficult (not to mention very hard to describe) so I will give the bare minimum. Capt. Colter Stevens (Jake Gyllenhaal) wakes up on a moving train amongst strangers, not knowing how he got there. Events get more confusing as Colter realises he is actually inhabiting the body of a different man, one that the commuter sitting opposite, Christina (Michelle Monaghan) seems to recognise as Sean Fentress. Then the entire train blows up killing everybody onboard. Stevens suddenly wakes up talking to Capt. Goodwin (an always luminous Vera Farmiga) and Dr. Rutledge (Jeffrey Wright). Your confusion is as great as Stevens when he is told he is to be continuously sent back into the body of Sean, to find out who was behind the bombing of that train which occured just outside of Chicago earlier that morning. With us so far? So this sets up an engaging "Groundhog Day" dynamic as Stevens must contend with the same repeated scenario again and again, in the hopes of saving a lot of people. Gyllenhaal is fantastic and the best I have seen him in a while. He plays Stevens growing confusion and panic very well and helps ease us into this world caught on an endless loop. In fact, while it's repetitious nature does occasionally become trying every now and again, it is the performances that help keep you involved. It is only Wright who seems to overact his part a little too much, and doesn't help any of his exposition and already far fetched dialogue with his delivery. But then, this is the Bowie Jr. show, and Jones proves that "Moon" was no fluke. The man has genuine chops behind the camera and easily overcomes that 'difficult second film' curse.
If there is one common thread that seems to be developing in his work it is in Jones' fascination in themes of existentialism and what it means to be 'you'. This gave "Moon" a lot of its emotional weight and it does much the same here. In fact, Jones' biggest success is in succesfully traversing big budget effects shots while still never once forgetting the all important human story, so important to its structure. As a result the film is disarmingly emotional; something I never expected from a science fiction film about exploding trains. After this Jones' career will only grow ever more exciting. He is the sci-fi genres new saving grace. He can do thoughtful low budget affairs with big issues, and he can do more action and effects driven features just as effortlessly. Now with his pick of Hollywood, we have the emergence of a genuine true talent and along with Neill Blomkamp, science fictions new saviours, both offering something the genre is in desperate need of. Vision.
Verdict: 8/10
Duncan Jones overcomes second feature jitters, complicated CGI effects and a 'think-about-it-too-much-and-it-makes-no-sense' plot to deliver an exciting and original science fiction film. The cast deliver and the film has genuine emotion to go with its explosive thrills.
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