★★★ / ★★★★
Joe (Joseph Gordon-Levitt) does not mean for him, his future self, to get away, a momentary hesitation that allows Old Joe (Bruce Willis), sent from year 2074 by a criminal organization using a time machine to be executed and disposed of in 2044, to escape which prompts the boss (Jeff Daniels) to initiate a hunt to kill the two. It is the only way to minimize further changes in the future. The problem is Joe wishes to live a full life even though he already knows that being a looper, an assassin of the present assigned to murder people sent from the future, comes with an expiration date of age thirty. Meanwhile, Old Joe hopes to alter the past by killing a person called The Rainmaker in order to undo the death of his wife.
Written and directed by Rian Johnson, “Looper” explores a handful of interesting and intertwining ideas about the people affected by time travel, outlawed by the government upon its discovery, and avoids many details and technicalities of the concept itself. There is a difference and it is an important one because by focusing on the former, the writer-director constructs a story that we can, first and foremost, invest in or care about and, secondly, appreciate a fictionalized world of flying motorcycles and people with the ability to move objects using their minds due to a genetic mutation that affects ten percent of the population.
I enjoyed that the interactions between current and future Joe are kept to a minimum. Their one conversation set in a diner is imbued with an electric dialogue that is ironic and funny but serious and intelligent, too. This scene is not only a stand out because of the script. It is the point when we can observe how alike–or different–the actors are with respect to them playing, essentially, the same person. One is able to match the other not simply in terms of quirks but, for example, how one delivers a calculating gaze to a threatening or curious figure. The way in which they place stresses on particular words are also fun to pick up on.
Though it was easy for me to divorce between actor and makeup, I would have preferred that Gordon-Levitt was not given prosthetics so that he would look more like Willis. Since the picture functions on a relatively high level of imagination, it would have made sense for the filmmakers to assume that we had the initiative and the capacity to imagine the two actors, given that their performances complement each other well, playing a variation of one character.
What works less effectively is that the script does not give enough details about the organization led by Abe (Daniels). Is its goal more related to business like running a drug cartel and strip joints or is its objective more concerned about the bodies that come from the future? Furthermore, while Abe is nicely played by Daniels because he tends to choose quiet over hyperbolic menace, we do not see the character do much other than give orders. For someone who is supposed to be the leader, he does an awful lot of waiting for everyone else to do their jobs right. Ultimately, watching him does not feel like we are being engaged with a character who has much purpose underneath the archetype of a mob boss of some sort.
“Looper” may be and is faulted for its irregular pacing particularly when the story takes a detour on a farm. I respected this change of pace because it ties in to the idea that the picture is not just a sci-fi action film padded by chases and bullets flying. It takes a risk worth noting. It gives itself a chance to turn its attention toward one or two moral questions by setting aside almost half of its entertainment value. This approach is not common but it sure is admirable.