Source Code

Source Code is a little big movie reminiscent of Donnie Darko, Proyas’ Knowing or The Adjustment Bureau, which was released at the same time. It is visually refined, with a playful, well-thought-out script, as well as emotional and witty. It’s great when a spring Hollywood genre movie that doesn’t pretend to be anything more than it is worms its way into your heart more than “big” winter Oscar dramas. That is exactly the case with Source Code. Jake Gyllenhaal is very good here. Ignore the cheap, forced epilogue. I’m sure it was a concession to the producers, who wanted a more uncomplicated happy ending than the real one, the only one possible, inevitably reached through tears. (08/05/2011)

Why have I put off the day watching this movie so much? Really interesting subject matter and I have to say that Jake Gyllenhaal surprised me greatly with his performance. A sophisticated script and details that leave you spellbound. I'm giving 5 stars mainly because I'm so confused that as far as I know I could have been in the movie too. I must also point out the brilliant music, which went nicely hand in hand with the plot. The only thing missing was a more elaborate ending. (03/05/2011)

An intelligent, fast-moving genre movie that trips itself up with the concluding emotionless, logic-lacking (the “rules" of virtual realities versus the “rules" of parallel realities) and a five-minute race with no climax. Whether this comes from Jones’ head or a concession from the producers, this is exactly the type of ending that buries any positive impressions. Although the feeling fades over time, but in any case the after-taste remains with you. (03/05/2011)

Three words: Jake Fuckin’ Gyllenhaal. Finally, this handsome man didn't remind me of a steamed chicken, but his subtle charisma pulled the film in both genre positions. As a "mental" detective, he has the necessary energy, like a lover who has his scary softened eyes for eight minutes of love-making. Duncan Jones may not have had the strongest script to work with, but he caught on to the themes that fascinated him back in Moon, making the otherwise fairly ordinary sci-fi thriller into a very chilling spectacle. The hero, isolated and deceived even by the almost Verhoeven-Cronenberg motif of his exploited body - at the end all of this beautifully blew the wind into my sails, turning that rather austere and quickly exhausting story of a return to the past (or the appearance of the past) into a really powerful and quirky film that has no competition this year. If it weren't for the sometimes stupid dialogues and sometimes cheaper visuals, I'd have gone to euphoric heights. (12/04/2011)

Catharsis. Not only did Source Code cross into the realm of quantum physics and sociology, it entertained and surprised me. Classic thought transfer (hi to fellow SGU fans) doesn’t happen here in the way that most genre experts would think, but in a much more sophisticated and I dare say less researched way. Ingenious action sequences come fast and furious and the audience has no time for any sense of doubt to emerge. In fact, there is no need. It’s disappointing that the finale is rather lacking in ferocity, but things needed to slow down a bit because, even though I consider myself to be a sci-fi connoisseur, I had trouble keeping up. Gyllenhaal is awesome again (forget that hairy prince) and you’ll find it as easy to fall in love with Michelle Monaghan as our hero does. Duncan Jones steps on the gas and after the excellent Moon (and we find a reference to this) he continues up the stairway to perfection. Bacon’s background music is a real treat. (25/04/2011)