Title: Source Code
Country: USA, France
Genre: Mystery, Sci-Fi
Director: Duncan Jones
Writer: Ben Ripley
Music: Chris Bacon
Cinematography: Don Burgess
Train now becomes a sensitive hot topic in China due to the 7.23 train-wreck accident at Wenzhou, and this film fitly offers an effectual resolution to prevent (or forestall) the tragedy, which causes an 8-minutes-save-the-world mission accomplished by a high-tech novelty called “Source Code”.
Duncan Jones is sturdily paving his way for a further advancement as a new gifted director after his universally-acclaimed indie debut MOON (2009). Although SOURCE CODE, carrying a modest budget this time, Duncan’s mainstream breakthrough explores again in the sci-fi genre and successfully generates a palpable solution to satisfy as much audience as possible and meanwhile maintains his auteurism among his devoted followers, from which aspect, Source Code is a decent victory. Both MOON and SOURCE CODE share a similar monochrome circumstance, claustrophobic suffocation, and deal with a straightforward trajectory of the evolution of technology (clones or time-reset mission), for me, it is not important all the happenings make sense or not, what I admire Duncan is his ability to water down the sophisticated elucidation in a range where could be digested by main population without tainting its emotional seesaw. One minor side affect is using too much platitude for the residual elements (the would-be Chicago nuclear-bomb attack looks like a tawdry joke and the ignition of love for Michelle Monaghan is evocatively banal, not to mention the ubiquitous father issue).
Jake Gyllenhaal thoroughly reflexes a multi-facet impersonation as the leading role, which inevitably widens his territory and capacity. His maturity and aplomb will grant him a brighter future, which will not be so far-fetched. All the supporting cast is mainly curbed in their restricted field, Michelle and Jeffrey Wright are merely using their stock-in-trade, however the versatile Vera Farmiga’s contribution is worthy of an official accolade, she magically endows a corny and stereotyped role with an empathetic credibility, even marginalizes the plot hole to a certain extent (originally I cannot understand why she risks her career just for the sake of some “emotional” brain wave, maybe this is the most mysterious part).
Finally, a big congratulation to Duncan Jones again (the first one is for MOON two years age) and I think in the near future, lesser and lesser will call him the son of David Bowie, and I wish he could astonish the world of cinema with his own free will, which is a golden mine still underdeveloped.