Looper: A Sci-Fi Thriller with Brains, Heart, and Courage
As the Wizard of Oz might say, “Looper” is a science fiction film with brains, heart, and courage.
Set in the mid-21st century, the film introduces us to Joe (Joseph Gordon-Levitt), a “looper” who works for the mob. His job is to assassinate individuals sent back in time 30 years from a future where time travel has been invented but is controlled by organized crime. However, when Joe’s future self (Bruce Willis) is sent back to be eliminated, the younger Joe hesitates, setting off a chain of events as both versions of Joe attempt to alter their destinies.
Time Travel Paradoxes and Emotional Truths
When the two versions of Joe meet in a diner, engaging in a debate about the paradoxes of time travel, the older Joe’s attempt to steer the conversation away by claiming a headache from all the mind-bending complexities is almost a relief. This scene acknowledges that we’ve seen these tropes before, and likely will again. The intricate paradoxes have become a staple of the time-travel subgenre since Mark Twain and H.G. Wells first explored the concept of closed loops.
Similar to other recent, more ponderous sci-fi action films like “Repo Men,” “Surrogates,” and “In Time,” the dystopian society in “Looper” is entirely shaped by a single technological advancement. To fully immerse yourself in the film, you have to accept this premise as a given.
One might argue that there are simpler methods to dispose of unreliable associates than sending them back in time to be executed in a field reminiscent of the forest clearing in “Miller’s Crossing.” Furthermore, a sociopathic mob boss with a monopoly on time travel would likely have more ambitious plans for manipulating history. However, these are minor quibbles. Despite a plot that might require a degree in quantum physics to fully unravel, the film’s core theme revolves around a simple emotional truth: if you could go back in time and tell your younger self they’re making mistakes, they probably wouldn’t listen anyway.
Ryan Johnson’s Vision
Ryan Johnson, known for his neo-noir high school drama “Brick” and the con-artist love triangle “The Brothers Bloom,” has established himself as a director of mid-budget films that spark conversation. With “Looper,” he elevates his game. The film presents a post-economic collapse dystopia with a stark divide between urban and rural areas, reminiscent of the Great Depression era in the US. The story includes action sequences with flying motorcycles and massive weaponry, as well as telekinetic prodigies à la “Akira.” However, the true highlights are the sharp dialogue and well-developed characters, often considered a luxury in this genre. “Looper” succeeds where films like “Surrogates” falter, not only because of its meticulously crafted world but also because its characters feel authentic.
Performances and Unexpected Twists
To avoid any confusion, Joseph Gordon-Levitt underwent makeup transformations to resemble a younger Bruce Willis. Commendably, he doesn’t simply imitate Willis from “Moonlighting” or “Die Hard” but portrays a hardened young killer who begins to awaken emotionally, plausibly evolving into Willis’s grizzled, bald character. The older Joe, much like in “12 Monkeys,” plans to assassinate the future leader of a criminal organization, who is currently just a child in school. However, director Johnson offers a surprisingly fresh take on the age-old question of what would happen if one were to eliminate Hitler. This twist is just one of many in the film, including a particularly shocking scene that a less independent-minded filmmaker might have avoided.