Duncan Jones made his presence known in 2009 with MOON, his first feature that astounded audiences with its intelligent science-fiction story and the early signs of a filmmaker to watch. SOURCE CODE was written by Ben Riley (SPECIES III) and is Jones’ sophomore outing as a feature filmmaker, but is also his first big-budget Hollywood flick. An independent film, MOON had a $5 million budget, a mere drop in the bucket compared to the $30 million upgrade Jones’ earned to make SOURCE CODE.
Why is the budget so important? Well, its not. One thing Jones made clear to me once I saw MOON the first time, was that he had the ability to make the most of what he had to work with, but also deliver a compelling story without relying heavily on expensive CGI special effects. In SOURCE CODE, Jones continues to convince me that he focuses more on his vision and ingenuity as a storyteller and less on relishing in the newest state-of-the-art technology… a dangerous slippery slope that has caused other filmmakers’ stories to suffer.
This discussion of special effects is especially relevant as Jones appears to be quite fascinated with science-fiction. SOURCE CODE is very much an entertaining, fast-paced thriller, but its much more. The film, which tops out at a comfortably satisfying hour-and-a-half in length, is a philosophical popcorn picture with punch. Attentions are firmly seized early on and the ensuing adrenaline rush maintains that grip through to the surprise ending.
Jake Gyllenhaal (JARHEAD, ZODIAC) plays Colton Stevens, a soldier involved in a mysterious experimental program. His mission is to find out who detonated a bomb on a train headed into downtown Chicago. Colton himself is unaware of the details of the program and his mission, as the audience gradually unfolds the story alongside the character, thrown back and forth between the present and 8-minutes of the “past” with jarring abruptness. Gyllenhaal’s range of emotion is at work in SOURCE CODE, from confusion to frustration, resignation to a microscopically focused intensity in the end.
While this is clearly Colton’s story, the supporting cast surrounds Gyllenhaal with a pleasant texture of charm and humor. Michelle Monaghan (GONE BABY GONE, EAGLE EYE) plays Christina, a friend and riding companion on the train with whom Colton develops a deep emotional attachment. Gyllenhaal and Monaghan have a chemistry that tiptoes around romantic comedy, but with a higher sense of purpose. Vera Farmiga (THE DEPARTED, UP IN THE AIR) plays Captain Colleen Goodwin, Colton’s liaison to the world outside of his “capsule” and his direct contact during his difficult and trying mission. Finally, Jeffrey Wright (CASINO ROYALE, BASQUIAT) plays the brilliant but misguided Dr. Rutledge, responsible for the creation of The Source Code.
SOURCE CODE also benefits from an effectively used cast of smaller roles that appear repeatedly on the train, each time Colton return to the 8-minute window, but never quite the same way. I was extremely pleased to see Russell Peters cast as Max Denoff, an amateur stand-up comedian on the rise to stardom, one of several passengers commuting to Chicago. I truly believe Peters is one of the best comedians out there that we don’t see too often, and he shows us why with this relatively minor role that serves both a dramatic purpose as well as a highly effective bit of comic relief.
Despite the quality of the acting, SOURCE CODE is not an actors’ film. This is a director’s film and it shows that Jones has a confidence in his vision equivalent to his contemporaries Christopher Nolan and Darren Aronofsky. For this statement to be true, the director must have a vivid understanding of what it takes to make a well-rounded, full-bodied film that works on all levels. This brings me to the music… the job once given to Clint Mansell, but later bequeathed upon Chris Bacon, whom — as far as I can tell — has delivered his first feature film score, and damn near nailed it! Now, with all due respect, its not Clint Mansell, but it does clearly take an influence from what could have been and is high-octane stuff.
SOURCE CODE is one part action-thriller that pleases those expecting a good time, allowing for pure entertainment, if desired. However, the film also manages to go deeper without forcing its depth upon the viewer. The film allows the viewer to willingly regulate how far into the spiraling rabbit hole they wish to go. Much like Nolan’s INCEPTION, there is a lot going on just under the surface, including ethical undertones that range from military policy to the meaning of life, love and fate. Deeper still are the science-fiction elements, ranging from time travel to alternate realities. Add the surface elements of action, mystery, suspense, humor and romance… and you have a rarity of a film that truly has something everyone packed neatly into a portable 93-minute package that anyone can accommodate.
Finally — and with great caution, I make this statement given by a number of others already — SOURCE CODE is the first best film I’ve seen this year, much more than the trailers elude, but not so much that it feels pretentious. SOURCE CODE is one of the most generally accessible, thought-provoking science-fiction films I’ve seen in years; and one that should guarantee a widely accepting audience in a genre that often targets a specific market.
Overall Rating: 4 out of 5 stars
