Código fuente

Esta película fue totalmente desastrosa después de una primera mitad emocionante. La revelación del terrorista fue ridícula y la resolución y explicación posteriores fueron extremadamente dolorosas. Si los productores son responsables de esto, es realmente muy triste. (03.08.2012)

Una pequeña gran película que recuerda a Donnie Darko, Señales del Futuro de Proyas, o Destino oculto, lanzado en el mismo momento. Visualmente elegante, guionísticamente juguetona, bien pensada, emotiva, ingeniosa. Me gusta cuando una película primaveral de género de Hollywood, que no parece ser nada muy grande, llega a acariciar nuestros corazones más que los «grandes» dramas de los Oscar de invierno. Y este es el caso. Gyllenhaal es muy bueno. Ignore el suplemento barato atornillado al final. Debe haber sido solicitado por los productores, que querían un final feliz, menos patético que el real, el único posible, el necesario, entre lágrimas. (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)

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)