It isn’t exactly revelatory to say that we are in a cinematic era greatly lacking in originality. That irrefutable fact is thrown in our faces with every weekend’s slate of releases. There is a seemingly constant barrage of sequels, remakes, and reboots which make it almost impossible to find anything of substance and creativity in the movies of the moment. So when an even moderately interesting, original idea comes along with the full support of a major studio and helmed by a director of artistic repute, film fanatics like me take notice. We hope that, at the very least, the filmmakers succeed in taking this all-so- rare original concept (and that ample studio budget) and craft something which creatively matches the originality of the idea itself. Source Code, the new film from sophomore sensation Duncan Jones is a prime example of that opportunity being utterly squandered.
The concept for Source Code is actually quite compelling. It’s about a man who is placed in the body of another in order to solve the mystery of an already successful train bombing. Due to the physical constraints of this program he only has eight minutes to gather clues. Eight minutes which he must relive over and over until he can find the man who bombed the train and prevent another more devastating attack threatened to occur later in the day. This is a scientifically intriguing concept, structured by fantastic physical and temporal restraints which promise a tense and possibly cerebral cinematic experience. Source Code is a great pitch. I can see how it managed to swim through the sea of sequels and comic book crap and actually get a green light. This is the kind of material that can bridge the gap between sci-fi geeks and arthouse aficionados, adding up to big box office when the dust settles. Of course, this outcome is contingent upon the filmmaker’s ability to take the idea, craft it into a tight script, and execute the shoot. In my opinion, Source Code fails on all counts.
There are multiple, very specific reasons I could cite for Source Code’s failure. This piece could run a few thousand words if I decided to drop a laundry list on my limited readership. Instead, I’ll break it down to the core culprit for most of the movie’s shortcomings: a case of acute timidity.
In other words; this movie has no balls.
This is not an inherent trait of director Duncan Jones; at least it wasn’t apparent in his directorial debut, Moon. Unlike that excellent existential sci-fi/comedy/thriller, Source Code completely lacks any element of risk or playfulness. At no point in SC do we feel like the filmmakers are having any fun. The camera is stiff, the editing workmanlike, and the art department seems to have been half asleep. The only people who seem to be enjoying themselves on this set are the actors. Their over-the-top performances combined with the decidedly underwhelming visual style turns this film into a farce.
The script isn’t immune from this condition either. With a story so ripe for various avenues of exploration, this one ends up taking the freeway every time. Each choice is easy and safe. Political correctness is rigidly adhered to, potential surprises entirely passed over, and complexity of plot avoided. Perhaps they thought the scientific elements of the core concept were so complicated that they chose to make the action (and resolution of the action) as simple minded as possible. The fact that the climax consists of the hero effortlessly unplugging a bomb from its detonator and apprehending the bomber without so much as a whimper of protest, is pathetically anticlimactic. I think enough has been written about the character resolutions that I shouldn’t have to go on about it here. I’ll just say that Source Code has one of the worst final five minutes in recent memory.
Bottom line, Source Code is a wasted opportunity. It’s a rare original concept, with some promise, that actually made its way to a wide release, and the filmmakers blew it. In this time in Hollywood where repetitiveness and familiarity so often win out over creativity and originality, the chance to do something that stands out should be treated like a once in a lifetime chance at greatness. But greatness is something that was never achieved by playing it safe.
