Wednesday, April 27, 2011


If you approach Duncan Jones’ new film as a conventional ticking clock thriller, either you will be disappointed or, like me, pleasantly surprised by the existential preoccupations of the director and screenwriter Ben Ripley.  On a Chicago-bound commuter train we meet a disoriented Colter Stevens (Jake Gyllenhaal) perplexed that a pretty woman sitting across from him named Christina (Michelle Monaghan) keeps flirting and calling him “Sean”, because he knows himself as a helicopter pilot stationed in Afghanistan.  But before Stevens can orient himself the train explodes and he awakes in a capsule to questions via video remote from military officer Colleen Goodwin (Vera Farmiga) and Dr. Rutledge (Jeffrey Wright).  Stevens gradually learns that he has been reassigned to the “Source Code” project in which he is projected via quantum mechanics into the mind/memory/body of Sean, one of the victims of a terrorist attack earlier in the day.  His mission is not to stop the bomb (since the explosion already occurred) but to identify the bomber so that a future dirty bomb attack in Chicago may be prevented.  The catch is that in each trip back Stevens only has an eight-minute window before the bomb explodes again, sending him back to base with whatever information he was able to obtain.  Call it GROUNDHOG DAY meets TV’s Quantum Leap.  Upon close examination the science behind the movie’s premise is nonsense.  But the filmmakers have little interest in it, using the premise as a modern day MacGuffin.  Instead they focus on Stevens and his growing realization of his true part in this military project and in the world at large.  Gyllenhaal, with his soulful eyes and hangdog expression, makes a compelling protagonist in this unconventional action movie.  Monaghan, on whom I’ve had a crush since the underrated KISS KISS BANG BANG, is endlessly appealing and deserves to carry a movie on her own.  Farmiga is marvelous and understated, and Wright nicely embodies the single-minded scientist.  Fans of Jones’ previous feature MOON can feel vindicated.  I, meanwhile, intend to rent that movie the next time I visit my local video store to confirm what I now suspect:  that Jones is a talent worth following.

1 comment:

  1. Didn't work for me. The premise offered initial promise, but it doesn't hold up to scrutiny. And as the "world" of the infiltrated memory keeps expanding to the point of going miles beyond the train and people far afield from it, the film moves from poetic license to proposterosity. And I don't care if that isn't a word.