My review of Source Code is now up at Strange Horizons.
Moon is quiet, oppressive and uses an extremely muted color palette. It presents the universe as being grimly deterministic. Stevens, by contrast, is almost immediately aware of his situation and from there it is only a small step to accepting it and, ultimately, changing it. His journey much more conforms to the Hollywood archetype. Correspondingly, the color palette is reversed and the film is suffused with a self-help sensibility: carpe diem, every second counts, what you do if you only had a minute to live? Although Moon concluded with an unlikely happy ending, it always seemed bolted on. Source Code’s happy ending is never in doubt and Ben Ripley’s script could have been written by Basil Fotherington-Thomas (hello sky, hello trees; hello train, hello terrorists). The film’s capacity for sentimentality still manages to surprise, though.
As it happens, I saw the film on the same day as both my current and previous editors at Strange Horizons (Abigail Nussbaum and Niall Harrison). They both liked it rather more than be and Abigail published her review on Saturday:
Source Code, then, is an underbaked war movie and a slightly wobbly science fiction film. What’s left is an entertaining and occasionally moving SFnal action flick that is smarter and more thought-through than it has any business being, and refreshingly uninterested in wowing us with explosions and special effects. There’s been a mini-glut of low-budget science fiction films from major studios recently (Skyline, Limitless, Battle: Los Angeles, The Adjustment Bureau), and though I don’t yet know how Source Code stacks up (and am anyway only planning to see the last of the four) I think that trend is something to celebrate in itself. A wider field means more chances for quality to accidentally make its way to the screens, and lower budgets put less pressure on filmmakers to stick slavishly to proven, and brain-dead, formulas.
There is also further discussion in the comments on both these reviews.