Réalisation:
Duncan JonesScénario:
Ben RipleyPhotographie:
Don BurgessMusique:
Chris BaconActeurs·trices:
Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga, Jeffrey Wright, Michael Arden, Russell Peters, Albert Kwan, James A. Woods, Scott Bakula (plus)VOD (3)
Résumés(1)
Colter Stevens se réveille en sursaut dans un train à destination de Chicago. Amnésique, il n’a aucun souvenir d’être monté dedans. Pire encore, les passagers du train se comportent avec lui avec familiarité alors qu’il ne les a jamais vus. Désorienté, il cherche à comprendre ce qui se passe mais une bombe explose tuant tout le monde à bord. Colter se réveille alors dans un caisson étrange et découvre qu’il participe à un procédé expérimental permettant de se projeter dans le corps d’une personne et de revivre les 8 dernières minutes de sa vie. Sa mission : revivre sans cesse les quelques minutes précédant l’explosion afin d’identifier et d’arrêter les auteurs de l’attentat. A chaque échec, les chances de pouvoir revenir dans le passé s’amenuisent. Alors qu’il essaie d’empêcher l’explosion, ses supérieurs lui apprennent qu’un deuxième attentat est en préparation en plein cœur de Chicago et qu’il ne s’agit plus de protéger les quelques passagers du train mais la ville toute entière. La course contre la montre commence… (SND)
(plus)Vidéo (6)
Critiques (13)
Après une première moitié passée comme une lettre à la porte, le film se plante complètement. Le démasquage du terroriste est ridicule et ne parlons même pas des explications qui s’ensuivent et de la façon d'emballer le tout. Si le final a été dicté par les producteurs, c’est vraiment triste.
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Un grand petit film qui rappelle Donnie Darko, Prédictions de Proyas, ou L'Agence diffusé à la même époque. Visuellement stylisé, scénaristiquement ludique, réfléchi, émotionnel, spirituel. Rien de tel qu'un film de genre hollywoodien de printemps qui ne prétend pas être quelque chose de plus grand, qui regarde davantage vers le cœur que les « grands » drames oscarisés de l'hiver. C'est le cas ici. Très bon Gyllenhaal. Ignorez la conclusion bon marché et forcée. Les producteurs l'ont sûrement imposée, exigeant certainement une conclusion à moitié pathétique et davantage « happy end » que la vraie, la seule possible, inévitable, à travers des larmes.
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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.
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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
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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.
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Annonces