Looper * * * *
Director: Rian Johnson.
Screenplay: Rian Johnson.
Starring: Joseph Gordon-Levitt, Bruce Willis, Emily Blunt, Paul Dano, Jeff Daniels, Pierce Gagnon, Noah Segan, Piper Perabo, Garret Dillahunt, Qing Xu, Frank Brennan, Tracie Thoms, Nick Gomez.
“12 Monkeys“, was the last time I seen a science fiction/time-travel movie that featured Bruce Willis and if that was anything to go by then this film could do no wrong. In hindsight, it’s not as tight or as clever as it thinks it is and it’s not quite up to the standard as the aforementioned Terry Gilliam movie but it’s still thoroughly good entertainment.
The year is 2044 and organised crime has a grip on society. Hit men (known as ‘Loopers’) are employed to execute people sent back from 30 years in the future. Time travel is illegal but being under the control of the mafia, it allows them to eradicate people without a trace. One of the rules of being a Looper though, is that they must execute their future selves when they are transported back. Joe (Joseph Gordon-Levitt) is a Looper but he fails to carry out the hit on his older self (Bruce Willis) and they are both forced to go on the run, potentially altering their future with very dangerous consequences.
For any good sci-fi yarn to work, it has to have an interesting and thought provoking concept. This film can certainly claim to possess that. All-be-it, it’s a little self-indulgent and doesn’t entirely hold up under scrutiny but once you let yourself go the film has a lot to offer. Wisely, it doesn’t overplay it’s futuristic setting, preferring instead to go for a more subtle and minimal approach. This helps in creating a better sense of realism for it’s genre and concept, as well as making it easier to identify with the characters – of which, the ubiquitous Joseph Gordon-Levitt takes central stage. Now, a lot has been said about the prosthetic make-up of Gordon-Levitt to have him look more like a younger Bruce Willis and I can see why people have had issues with it. For a start, it seems unnecessary to have a very talented young actor mimic one that isn’t exactly known for having a massive range in the first place. However, this was the path they chose tread and for the first half of the film I thought Gordon-Levitt captured the mannerisms of Willis very well indeed. In some ways, he gave a better performance as Willis than Willis does himself. The only problem I had with the make-up was the meticulously shaped eyebrows. They looked too dark, out of shape and well out of place. Anytime, Gordon-Levitt was onscreen in the latter half of the film, I was distracted by them. Not only did he not look like Willis, he didn’t even look the same way that he started the film. It was bizarre to say the least. That aside, the film is brilliantly structured, well realised and poses the odd noodle-scratching moment. My only criticism would be the second half; it takes the action away from the dystopian city and heads into rural farmland and around this time hits a bit of a lull. Its saving grace being an outstanding performance from young Pierce Gagnon who, just about, acts everyone else off the stage.
Upon it’s release it was heralded as 2012’s “Inception“. I wouldn’t go that far in my praise for this; it didn’t quite have that Nolan magic but in respect of being a piece of exciting and thrilling escapism, it’ll hold up amongst the best of the year. For that reason, filmmakers like Rian Johnson can’t be encouraged enough when they seem intent on delivering movies that an audience can really get embroiled in. I was a big fan of his modern-noir debut “Brick” and despite some critical panning, I also enjoyed his con-man follow-up “The Brothers Bloom“. This is, undoubtedly, a bigger step forward for Johnson but he handles it admirably and I can only hope he continues to provide innovative pieces of work like this, without the Hollywood studios getting their claws into him.
A smart and imaginative thriller that manages to squeeze out more mileage from the time-travel sub-genre. It does so by bringing a fresh and original approach to it’s paradox while also possessing a moral compass.