Monthly Archives: April 2011

Juno Temple cast in “The Dark Knight Rises”

Posted on April 4, 2011 by Aaron Faulkner | Leave a comment

First there was Anne Hathaway and Tom Hardy, followed by Joseph Gordon-Levitt. And now there’s been another addition to the already stacked cast of Christopher Nolan’s The Dark Knight Rises–Juno Temple.

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Source Code’s Ending: Bitter Pill?

Posted on April 1, 2011 by The Filmsmith | 22 comments

MAJOR SPOILERS, SEE FILM FIRST

At the end of the film, Colter Stevens has been transported to the train, where he finally averts the explosion and then stays in the body of Sean Fentress. It appears this is possible because he isn’t killed as Sean, so he isn’t snapped back to his body. If he had failed, he would be dead for good since Goodwin pulls the plug on his body.

But what about the real Sean Fentress? Since the Source Code machine is thought to just tap into the memory of someone already dead, there’s not a lot of moral consideration for Fentress considering the mission (which is also Stevens’ situation). But since Sean Fentress doesn’t die on the train due to Stevens’ intervention, what happens to his consciousness? Continue reading →

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Posted in Articles

Tagged Ending of Source Code, Jake Gyllenhaal, Source Code

Source Code a genuine sci-fi thriller

Posted on April 1, 2011 by The Filmsmith | 1 comment

Nicolas Cage picks projects that can be hit or miss (Bringing Out the Dead vs Bangkok Dangerous); Jake Gyllenhaal seems to follow a similar pattern of doing the safe film, then the artistic one ( Prince of Persia vs Donnie Darko). Thankfully Source Code, Gyllenhaal’s latest, is a taut sci-fi thriller worth seeing. Continue reading →

1 Comment

Posted in Reviews

Tagged Duncan Jones, Jake Gyllenhaal, Moon, Sci-Fi, Source Code

Colorful noir emerges in “The Big Bang” trailer

Posted on April 1, 2011 by Aaron Faulkner | 2 comments

The general consensus amongst film scholars is that film noir begins with The Maltese Falcon and ends with Touch of Evil, with the latter marking a transition into the so-called neo-noir stage. Since then the visual iconography, motifs, and archetypes of noir have been propelled into the future and re-appropriated into “new” scenarios. Such a scenario appears in a trailer for The Big Bang, which also incorporates an unexpectedly vibrant color scheme.