Source Code

Ein kleiner großer Film, der mich an Donnie Darko, Proyas’ Knowing oder den in derselben Zeit erschienenen Film Der Plan erinnerte. Visuell hat er Stil, das Drehbuch ist verspielt, durchdacht, emotional und geistreich. Es gibt nichts Besseres, wenn ein Hollywood-Genre-Frühlingsfilm, der nicht vorgaukelt, er sei bedeutender, als er in Wirklichkeit ist, das Herz mehr als "große“ winterliche Oscar-Dramen erfreut. Das ist hier der Fall. Ein sehr guter Gyllenhaal. Den billig hinzugefügten Zusatz am Ende sollten Sie besser ignorieren. Auf dem haben bestimmt die Produzenten bestanden, die ein direkteres Happyend wollten; nicht das echte, einzig mögliche, unumgängliche, mit Tränen. (08.05.2011)

Jake Gyllenhaal is cool, the film has a brisk pace, but my god! In science fiction you can use any crazy idea you want, but it has to stand on sufficiently firm laws, which isn’t the case here. This fictional universe is haphazard from the get go, and let’s not talk about the ending. Taken together, Source Code doesn’t have any climax. The last fifteen minutes could have turned into either an utterly irrelevant and uninteresting filler, or in nonsense, and unfortunately it was the latter. I was really thrilled with Jones’ previous film, Moon, but this is one is just a popcorn movie that squanders a very good premise, which if more refined could have resulted in a sci-fi gem. PS: Before the screening I was almost certain I wouldn’t be disappointed. I’m sorry about the rating. PPS (Spoiler): This film would make a little sense only if I were to accept the hypothesis that the device that works according to clearly explained laws, will work according to completely different laws, and completely differently, and that it will manage generate pure chance, and that by pure chance it will work spontaneously, regardless of the instructions of its creators, who still control it according to the laws they believe it abides to, but actually doesn’t… and I won’t do that :-D (22.04.2011)

I like the fact that Duncan Jones sells utter banalities as little unobtrusive indie pieces, where many (rightly!) shout the words of the savior of intelligent sci-fi, and so on. With Source Code, however, I can't help thinking that if the whole thing had been treated as a quarter-hour short, the result would have been better than this feature film, which harms itself by trying to do too many things at once (time paradoxes, military trauma, the love story). In addition, the protagonist has the option to press the "load" button so many times that you eventually realize that he has to be able to do it once, just like in a PC game when you start from the same checkpoint for the umpteenth time and hope that this time you won't definitively die. 3 ½. (01.09.2011)

Drei Wörter: Jake Fuckin´ Gyllenhaal. Schließlich erinnerte mich dieser Schönling nicht an ein gedämpftes Huhn, jedoch sein subtiles Charisma war treibende Kraft des Films auf beiden Genreebenen. Als "mentaler" Detektiv hat er den nötigen Drive, als Liebhaber, der 8 Minuten für die Liebe übrig hat, und wieder seine hartnäckigen Hundeaugen. Duncan Jones hatte vielleicht nicht das tollste Drehbuch in der Hand, aber er hat Themen aufgegriffen, die ihn bereits in Moon fasziniert haben, und hat dank ihnen aus einem ansonsten recht üblichen Science-Fiction-Thriller ein enorm frostiges Spektakel gemacht. Der nahezu bis aufs Verhoeven-Cronenberg-Motiv seines ausgebeuteten Körpers isolierte und getäsuchte Held, all das hat mir gegen Filmende den Wind wunderschön in die Segel geweht und verwandelte darauffolgend die ziemlich rohe und schnell ausgelaugte Story über die Rückkehr in die Vergangenheit (oder zum Schein einer solchen) in einen wirklich starken und spezifischen Film, der in diesem Jahr keine Konkurrenz hat. Wenn es die manchmal albernen Dialoge und stellenweise billigerer anmutenden visuellen Aspekte nicht gäbe, hätte ich gut und gerne auch euphorische Höhen erreicht. (12.04.2011)

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. (04.05.2011)

Once Duncan Jones masters the storytelling pace, he can be talked about as the new golden child of Hollywood. His films have a good concept, great actors, captivating atmosphere - and too long a duration. Fortunately, with Source Code, it is not such a problem as with the overstretched Moon, but still, I couldn't shake the feeling that by cutting about ten to fifteen minutes, it could have been the most tension-filled film of recent times. Nevertheless, thanks to the still very solidly paced plot, the chemistry of the main duo, and above all, the well-rounded ending with a twist - it is a cinema experience with an intensity that many action thrillers hopelessly lack. 75% (12.05.2011)

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)

In terms of direction, character work, and tension, the film runs like clockwork. All three main characters are written, cast, and performed in a way that evokes a sense of maximum viewer identification and sympathy. The film has high-quality visuals, camera work, and atmosphere, but the list of strengths suddenly ceases if you reflect on the screenplay. It departs from the field of science fiction, which plays in the style of "what if," but still adheres to a logical interpretation of the world, whereas in the case of Source Code, logic took a vacation. Here, the story is based on a logical short circuit, a nonsensical premise that filmmakers get away with simply because a significant portion of the audience has become accustomed to switching off their brains with the first shots of a film and enjoying the visual effects and action. Another problem is the traditional Hollywood happy ending. This film would be much more impactful if it ended with the sacrifice of the main hero and his voluntary demise in the capsule in the laboratory. Overall impression: 60%. (14.10.2013)

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)

A small movie full of emotions, sincere, and perfect for lovers of science fiction and time-travel. Even the cast is very impressive. It lacks grand scenes, but it has momentum and originality. Literally a one-off for one evening, not a “big” movie that you would feel like watching repeatedly. (14.08.2011)

Wenn ich eine Erzählung mit dem Titel "Source Code" schreiben und sie dann zum Wettbewerb (an dem ich jedes Jahr teilnehme) anmelden würde, würde mich die Jury sicherlich für die ziemlich originelle Idee und die Wiederholung der achtminütigen Szenen im Zug loben, die immer etwas Neues bringen und sich gleichzeitig auf eine einfallsreiche Art und Weise mit den tollen metaphorischen Zwischenspielen in der Kapsel überschneiden. Die Figuren würden ihr bestimmt gefallen (bei der Beschreibung des Haupthelden würde ich mich um eine größtmögliche Ähnlichkeit mit Jake Gyllenhaal bemühen), die wunderschöne, herrliche Szene mit der angehaltenen Welt würde sie gewiss auch beeindrucken. Ein riesengroßes Problem hätte die Jury aber damit, was in der Erzählung nach dieser Szene passiert. So viele nicht nur unerklärte, sondern vor allem unerklärbare Fragen würde wahrscheinlich keiner der Juroren verdauen. Und es ist umso trauriger, dass so ein Ende gar nicht nötig war. Der Regisseur und die Drehbuchautoren wollten für einen Moment das Gefühl haben, dass sie einen wichtigen Film mit einer großen Bedeutung drehen. Sie haben aber vergessen, dass sie nicht Nolan sind, dem man solche Dinge durchgehen lässt. Dreieinhalb. (31.08.2011)