04 April 2011 / Film Jakes on a train
Regular readers will know that I have a bit of a thing for Duncan Jones' Moon. I won't go over all that again here, but suffice to say it's my favourite film from the last few years (in summary: it's VERY GOOD, and it has a Muji clipboard in it). So it was with some excitement that Dr B and I went to see Jones' sophomore effort, Source Code, on Friday. Spoilerage ahead.
First things first: anyone expecting Jones to deliver another Moon will be disappointed. I kept my expectations at a realistic level – it's unfair to expect a masterpiece every single time, especially from someone so early in their career – and I didn't come away disappointed. Source Code is a damn good sci-fi action thriller that throws a lot of ideas at you, and most of them stick.
First of all, it's lean, very lean. With so much going on, it manages to avoid any plotbloat. With high concept science fiction, this is a lot harder than you'd imagine … just ask the makers of The Adjustment Bureau. The central conceit is convincing enough without needing to be over-explained. Like Inception and Limitless, it enough to just suggest the military development of the central technology, without spending half an hour showing someone inventing it. It feels really short, but in a good way.
It shares lots of themes with Moon, and explores them in different ways. The whole idea of an expendable character with multiple lives in which to complete a given task is central to both films, and is clearly informed by Jones being a bit of a gamergeek. As gaming and living become ever more fused, this current cycle of science fiction films are going to become ever more prescient.
Jake Gyllenhaal manages the tough central role really well and once again proves he's got oodles of star charisma. He's called upon to constantly juggle denial, anger, acceptance, etc. as he comes to terms with his own death – there are obvious comparisons to be made with Bill Murray in Groundhog Day. At times it's like watching an actor's workshop, showing how to approach the same scene in different ways, but he keeps it entertaining. His golden shininess was a little distracting though – presumably this was filmed around the same time as the forgettable Prince of Persia.
Actually, there was one other thing that distracted me a little, and it once again demonstrates the massive shadow of Christopher Nolan over these sorts of films. The film contains lots of rather lovely aerial shots of Chicago … and all I could think of was Batman. For me, Chicago and Gotham City are now synonymous.
Anyway, a great film. Well worth a visit to flicks, and one that'll certainly reward repeat viewings. Oh, and the casting of Jake's dad: nice.
Reader Comments (6)
Ahhh, didn't pick up on the Dad thing. Makes sense given all that Leaping.
Of course, the really burning question is whether he's going to insist on having the Chesney Hawkes song in all his movies.
@Dan I hadn't noticed that! It's a whole new genre: Duncan Jones Films About People Whose Tragic Consecutive Existences Are Eternally Mocked By The Very Existence Of Chesney Hawkes.
That's the word I was trying to come up with: lean. For such a complicated subject, it is given in a simple, almost linear way that doesn't confuse, rather making you want to watch more in order to understand more. Which was pretty much the case with Moon, but there the ending felt a bit like a downer. Source Code ends and you've left wondering and thinking for a while - so was he?... but how did they?... and she was where?... ooh, i see.
Btw, I too have a thing for aerial shots, I stopped munching my pop corn during the opening scene.
I hearted Moon so much I saw it twice, in quick succession, despite sniggers from the cinema ushers. I knew Source Code would be shiny, but I didn't think Duncan's bucket o' pennies would strip it of all its charm. Yeah, the characters were engaging, but four days after watching it and all I can remember is explosion, explosion, explosion, chopped liver tummy and ouchie legs-on-platform. Sci-fi should be grubby and bleak and messy! The exciting observations about ethics, humanity, technological development, etc, paced so nicely in Moon, were scurried over by a scientist on a crutch (why?) with the most annoying voice on the planet. And the ending was corn-y. Whiney-voiced scientist: It's not time travel. Ending: Oh, it's time travel. Jeez.
I saw this at the weekend and found it very enjoyable. I never spotted the actor who played the father. What a nice touch.
@Dr B Erm … No the ending was not … "It's time travel." If you think that then you clearly weren't paying attention. Actually after my initial "Oh dear this is a bit corny" reaction, I thought about it further and the ending actually helps to explain the seeming inconsistencies I'd noticed earlier. He clearly stayed on past his allotted eight minutes on more than one occasion by leaving the train but getting killed after the train explosion by other means. How was this possible? Alternate realities, dear boy …
*ahem* Make that "dear girl..." *whistles*