After its debut at the Toronto International Film Festival, director and writer Rian Johnson’s “Looper” makes its way into the United States with a bang. This sci-fi action flick takes the mind-bending concept of time travel and marries it with intense, violent action to great effect.
The film follows the story of Joe (Joseph Gordon-Levitt), an assassin in the year 2044 whose victims are sent back in time from the future to a predetermined location. These assassins, known as loopers, are paid handsomely to kill enemies of the mob until they must kill themselves, otherwise known as closing their loop.
When the time comes for Joe to close his loop, his future self (Bruce Willis) fights back and attempts to change the past to create a better future for himself. What ensues is a challenging, visually stunning and effective plotline that explores time travel, identity and morality.
Gordon-Levitt, a man of steel throughout the movie, plays the cold-blooded killer with a conscience, creating fantastic chemistry with the remorseful, yet determined portrayal of Old Joe by Willis. These two create the most interesting on-screen dynamic, playing two versions of the same person and yet managing to maintain important character development.
Johnson’s plot, though interesting and overall fulfilling, may leave audiences wanting. The pacing of the film was erratic, dragging on through scenes like Young Joe’s budding romance with Sara (Emily Blunt, “The Devil Wears Prada”) and glossing over Old Joe’s memories after ending his loop as well as some of the more intense action scenes.
Despite the minor flaws, the movie has much to offer. The concept of time travel, which can often be frustrating and nonsensical, is laid out in a logical manner and even pokes a bit of fun at itself. In the film, Willis delivers the line, “We’re going to be here all day, making diagrams with straws,” expressing his frustration with the concept but reinforcing the urgency of the timeline.
Johnson constructs the unique situation both Old and Young Joe are in as one that is constantly evolving from the moment Old Joe disrupts his execution. What Young Joe does affects Old Joe and, invariably, the larger future outside of the two Joes.
This construct, then, also allows for the script to explore what identity means, what roles people play in society and the concept of personal growth through the duality in the characterization of Old and Young Joe. “Looper” takes a profound look at humanity and returns with a brash, introspective conclusion that will leave audiences thinking.
To further this fantastic plot, the visual effects used in the film help create a believable, if somewhat depressing vision of the future. The grimy streets of Kansas City, filled with citizens driving their outdated and possibly retro-engineered cars, create the oddly perfect setting for the sci-fi film. Instances of telekinesis, an important plot element, and, of course, time travel are well handled and will both capture and hold viewers’ attention.
Cinematography was also spectacular throughout the film. Steve Yedlin manages to create a contrast between the idyllic countryside, soaked with light and warmth, and the dark, murky expanse of the city, helping to drive home some of Johnson’s points on a visual, subconscious level.
The action scenes, perhaps some of the most enthralling portions of the movie, are quite visceral and certainly do not shy away from bloodshed. This bold approach adds a level of danger, realism and fear that accompanies the life of a looper and goes hand in hand with the choices they make.
The terrific acting, cerebral plot and fulfilling characterization far outshine the film’s minor pacing problems. “Looper” takes a leap in filmmaking that is rarely seen: a bold, original story that engages audiences and looks good doing so, making this film a must-see this fall.
