The instances when human genius is passed down from one generation to the next are exceedingly rare. For artistic/creative/performance types, the rate is practically incalculable. There’s Lon Cheney Sr. and Jr., Paul McCartney and two of his daughters and that’s about it. You can now add David Bowie and his son Duncan Jones, a.k.a. Zowie Bowie, to that very short list.
Jones Is No One Trick Pony
“Source Code” proves that Jones wasn’t just a one-off, flash-in-the-pan. Far more accessible and commercial than “Moon,” “Source Code” is a thinking person’s action/adventure doubling as a sci-fi thriller that is tricky but not impossible to follow. Toss in a little burgeoning, flirtatious romance, some creepy mystery and the occasional bit of snarky humor and you’ve got yourself a smart and highly entertaining motion picture.Some wet-blanket types have chided “Source Code,” saying it’s little more than the spawn of “Groundhog Day,” “Speed,” “Déjà vu,” and “Minority Report” and technically they’re right. The lead character relives the same slice of the past mostly against his will and does so in order to identify the perpetrator of a terrorist attack in Chicago. Others have complained that the plot is implausible which again is technically correct. That’s why this genre is called science fiction. If you were to apply this logic fairly, the plot of every science fiction movie ever made is implausible.
A Nearly Perfect Screenplay
What separates “Source Code” from not only every other sci-fi film but all thrillers as well is the absolutely air-tight screenplay by Ben Ripley. In addition to being Ripley’s first feature effort, it does not have single solitary hole in the plot. It might and does take until the last scene to do so, but every plot thread is sewn-up, and there’s isn’t a clue doled out along the way that doesn’t make sense or fit into the final puzzle. It’s as close to perfect as a screenplay can get.It makes all kinds of sense that Jones cast Jeffrey Wright (as Rutledge) and Vera Farmiga (as Goodwin) as two shadowy, possible undercover, covert government types. They are two of the best character actors in the business and have the innate ability to simultaneously project sympathy, empathy, assurance, kindness, danger, menace, and indifference often in the same scene. We don’t know if Rutledge and Goodwin are good or evil or something else all together. They might not even be of this earth.
Monaghan Does a Lot With a Little
Not quite as surprising is Jones’s choice of Michele Monaghan (“Kiss Kiss Bang Bang”) as Christina, the woman sitting opposite Stevens at the start of all his visits. Christina seems to know him quite well but Stevens has no idea who she might be. She could either be the culprit he’s looking for or his salvation.
Monaghan is a performer who plays “light” with deceptive ease and is effective at “leaning in” to a role without signs of strain. Her Christina isn’t complicated or difficult to figure out, but she does have many layers and it is to Monaghan’s credit she does all of this in a movie where over half of her screen time is devoted to repeating the same scene.
In tone, style, approach and execution, “Moon” and “Source Code” couldn’t be more different. They don’t even feel as if they were directed by the same person. That is not only an indication of genius, but a sign that Jones has no intention of repeating himself. He is treating the medium of film the same way his father did with music and we are all the better for it.
