Looper

Looper is a new idea. The film has been highly praised for its innovative approach to a sci-fi genre which borrows heavily from itself. Though after screening the film, it’s worth noting that aspects of the plot are not completely original, but what sets them apart is their execution and commitment to the film’s internal themes. In the future, time travel is used by powerful criminals to send back targets to be killed and disposed of. The past assassins are known as Loopers. But when Joe’s (Joseph Gordon Levitt) latest target turns out to be the future version of himself (Bruce Willis), he hesitates and lets him escape. Will Joe find himself before the Loopers and Gat Men catch them both!?

While the main idea of the plot has been heavily advertised, the film gets really complex when Willis comes into the fray. In fact, the writing is some of the best this year. Acting wise Willis and Gordon-Levitt give top notch performances, though even with the prosthetic features, it is a bit difficult to buy that they are the same character. If I were director Rian Johnson, I would have jumped at having two such quality actors as my leads, as well. But the similarities aren’t quite there.

The film’s second half reveals a darker, more vital plot point than what had previously been the main conflict. This turns out to be incredibly intriguing and powerful on screen. The action is stepped up along with a more introspective look at the way the futuristic characters remain grounded in the wake of unchecked violence. Looper never pushes its limits by telling too much back story or revealing more than is needed to know about what their world is like. It’s a slow burn of a film that can even keep interest through the relaxed parts and have you on the edge of your seat without even knowing it. When it hits its peak and the credits roll, I didn’t even know what hit me, hence the silence during the first few moments of the credits. This movie matters, and the director wants to make sure we realize it.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.