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ON FAITH & MEDIA View Comments

Source Code

By
John Mulderig
Source: Catholic News Service


Michelle Monaghan and Jake Gyllenhaal star in "Source Code."
Taut direction by Duncan Jones and game performances all around help disguise the logical conundrums underlying the time travel-themed sci-fi thriller "Source Code" (Summit).

As for the musings on life, death and parallel existences that crop up in Ben Ripley's screenplay, these are too confused either to challenge or reinforce beliefs of any stripe. Instead we're left—as the closing credits roll—with a perfectly acceptable, though hardly original, message about seizing the day.

At the other end of the film's sometimes grim and often claustrophobic proceedings, we're as befuddled as he is when heroic Afghan War veteran Capt. Colter Stevens (Jake Gyllenhaal) awakens to find himself inhabiting the body of a stranger. Accompanied, apparently, by his girlfriend (Michelle Monaghan), said alter ego is a passenger on a Chicago-bound commuter train.

Long before Stevens can even begin to figure out what he's doing there, however, the train is suddenly engulfed by a huge explosion, with obviously fatal consequences for everyone on board.

Jolted awake again—this time in an environment that resembles the helicopter he pilots in combat—Stevens gradually discovers that he's part of a cutting-edge antiterrorism operation being run by Air Force Capt. Colleen Goodwin (Vera Farmiga).

As Goodwin explains via a video hookup, Stevens' task is to keep reliving the last eight minutes of the other man's life until he can identify the plotter who bombed the train, thereby forestalling a far worse follow-up attack.

The technology enabling Stevens to do so has been developed by Dr. Rutledge (Jeffrey Wright), an obviously over-intense, perhaps quasi-mad military scientist with an interest in harnessing the "afterglow" of dying people's consciousness.

As "Groundhog Day" meets a Kafka novel, the downbeat atmosphere is offset by an emphasis on Stevens' humanity. Thus we witness him falling for Monaghan's character in one reality—their unique circumstances, needless to say, preclude any premarital shenanigans—and soliciting Goodwin's help to reconnect with his estranged father in the other.

Both experiences eventually involve a blurring of chronology—not to mention the relation of cause and effect—that defies sober analysis. But most viewers will likely be happy enough with the surface entertainment on offer not to ask too many probing questions.

The film contains recurring action violence, some of it potentially disturbing, brief gory medical images, about a half-dozen uses of profanity, at least one instance of the F-word and some crude language. The Catholic News Service classification is A-III—adults. The Motion Picture Association of America rating is PG-13—parents strongly cautioned. Some material may be inappropriate for children under 13.

*****

Mulderig is on the staff of Catholic News Service.





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Visitation: This is a fairly late feast, going back only to the 13th or 14th century. It was established widely throughout the Church to pray for unity. The present date of celebration was set in 1969 in order to follow the Annunciation of the Lord (March 25) and precede the Nativity of John the Baptist (June 24). 
<p>Like most feasts of Mary, it is closely connected with Jesus and his saving work. The more visible actors in the visitation drama (see Luke 1:39-45) are Mary and Elizabeth. However, Jesus and John the Baptist steal the scene in a hidden way. Jesus makes John leap with joy—the joy of messianic salvation. Elizabeth, in turn, is filled with the Holy Spirit and addresses words of praise to Mary—words that echo down through the ages. </p><p>It is helpful to recall that we do not have a journalist’s account of this meeting. Rather, Luke, speaking for the Church, gives a prayerful poet’s rendition of the scene. Elizabeth’s praise of Mary as “the mother of my Lord” can be viewed as the earliest Church’s devotion to Mary. As with all authentic devotion to Mary, Elizabeth’s (the Church’s) words first praise God for what God has done to Mary. Only secondly does she praise Mary for trusting God’s words. </p><p>Then comes the Magnificat (Luke 1:46-55). Here Mary herself (like the Church) traces all her greatness to God.</p> American Catholic Blog Someone once told Pope Francis that his words had inspired him to give a lot more to the poor. Pope Francis’s response was to challenge the man not to just give money, but to roll up his sleeves, get his hands dirty, and actually reach out and help.

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