Source Code with it's unique twist on the classic time-loop scenario, brings mystery, action and a refreshing sci-fi structure for the audiences amazement. This film, like many sci-fi thrillers of the past, plays on societal issues with technology and it's potentially dangerous implications to the world. The plot, although minimalistic at a glance, unfolds with twists and turns that carry this sci-fi thriller to places never before seen by the sci-fi genre. As film reviewer, Peter Bradshaw, put it, “with twists and turns, and at breathtaking speed, this film runs on rails.”
Science Fiction is a genre that is almost entirely based upon societies complicated relationship with technology and it's potential implications on society. In the film, the main technology presented is a program unsurprisingly called “Source Code.” The program allows our lead character, Colter Stevens', brain to access the body of a man who is already dead. The technology works by accessing the last eight minutes of person's memory and turning it into an alternate reality. It is described by its creator, Dr. Rutledge, as a tool for revisiting rather than revising time. Through source code, Colter Stevens becomes Sean, a victim of a train-bombing outside Chicago. Although the train-bombing has already occurred, other acts of terror are imminent in downtown Chicago. If Stevens is to use source code as expected he is to find out who is responsible for the train bombing and relay his findings to the people of the present so they may prevent further incidents.
Each time his eight minutes are up, Stevens finds himself within a pod wired with a video screen. This screen is his only link Dr. Rutledge's unit and Stevens' commanding officer, Colleen Goodwin. The pod is a metaphysical set created to explain Stevens' thoughts and feelings. The room is essentially his mind and all that is going within it. The environment of the pod changes as Stevens' comprehension of the situation...
Bibliography: Cook, David A. A History of Narrative Film. New York: W.W. Norton. 498-499, 925-927.
Bradshaw, Peter. "Source Code Review.“ The Guardian. http://www.guardian.co.uk/film/2011/mar/31/source-code-review (accessed April 12, 2011).
Dargis, Manohla. "Don 't Know Who You Are, but Don 't Know Who I Am." The New York Times. http://movies.nytimes.com/2011/04/01/movies/jake-gyllenhaal-in-source-code-review.html (accessed April 12, 2011).
 Peter Bradshaw, Source Code Review, http://www.guardian.co.uk/film/2011/mar/31/source-code-review (April 12, 2011).
 David Cook, A History of Narrative Film, (New York: W.W. Norton, 1996) 925-927.
 David Cook, A History of Narrative Film, (New York: W.W. Norton, 1996) 498-499.
 Manohla Dargis, Don 't Know Who You Are, but Don 't Know Who I Am, http://movies.nytimes.com/2011/04/01/movies/jake-gyllenhaal-in-source-code-review.html (April 12, 2011).
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