Hollywood has a difficult relationship with science fiction. Whether they're translating classic sci-fi stories into brainless action movies or too caught up in the otherworldly details there's always something they can't seem to get right about the imaginative genre.
Looper defies the odds by fleshing out a unique future world while honing in on a specific story with real people at the center — a balance that defined works by greats like Bradbury Asimov and Dick. Joe (Joseph Gordon-Levitt) is a Looper an assassin for the mob bosses of the future who use illegal time travel to send back their targets for disposal. It's an easy lucrative life — one that affords him a party lifestyle of fancy cars and drops (drugs taken through the eye) albeit with the added knowledge of a definite grisly end. Eventually the mob "closes the loop" on its employees finding the Looper in the future and sending them back to be offed by… themselves. When it's Joe's turn to end his own life he's outsmarted his future self (Bruce Willis) escaping Joe's grasp. Driven to fulfill his duties as a Looper Joe goes on the hunt to kill himself.
Director Rian Johnson's Kansas City of 2044 feels appropriately lived in and extended from present day. When Joe's not blasting people away shrouded by the stalks of a cornfield he's dining on steak and eggs at a local diner. It's only the casual presence of hovercycles mutant telekinetics and the occasional visitor from the future that would give away the action of Looper isn't happening today. The realism gives Joe and the metropolis around him a necessary grit — there is danger and violence and pain in this world and when Johnson rouses up an action sequence there's something on the line.
Looper's greatest flaw is that it steps away from the confrontation between Young and Old Joe sending the two in different directions as they pursue answers to the film's spoilerific MacGuffin. On a farm away from the city Young Joe crosses paths with single mother Sara (Emily Blunt) who may hold the key to what Old Joe needs to survive. After being introduced to an ensemble of delightfully wicked characters — including Looper coordinator Abe (Jeff Daniels) Young Joe's sleazy coworker Seth (Paul Dano) and hotshot marksman Kid Blue (Noah Sagan) — plus Young Joe's stripper with a heart of gold confidant Suzie (Piper Perabo) Looper takes a sharp left turn leaving most of the cast in the dust. The interesting sci-fi mosaic slows down and enters a new chapter and it's rarely as engrossing as the first half.
When Willis and Gordon-Levitt are at odds Looper is simply magic. Nathan Johnson's industrial score pounds away as the two fight to stay alive all while grappling with the implications that come with glimpsing into your own future. One riveting sequence follows the timeline that played out before Old Joe tinkered with the space-time continuum a roller coaster through the years after the events of the film that see Gordon-Levitt evolve into Willis. The montage is a playground for Johnson's visual style. He never misses a beat.
For sci-fi nuts Looper corrects the past with an understanding of what makes the genre more than just an array of tropes and iconography. There are shaded characters duking it out in Looper's chaotic web of time travel logic and while their arcs fizzle out without much pay off they're a joy to watch.
What do you think? Tell Matt Patches directly on Twitter @misterpatches and read more of his reviews on Rotten Tomatoes!
It’s not a conflict most of us are new to: the butting heads of an evangelical Christian and an atheist. Of course Matthew Chapman’s thriller The Ledge takes this typical opposition and adds a salacious complication: a beautiful woman. Now with such a ubiquitous conflict Chapman has lots of room to explore more fully the back and forth between these two schools of thought but unfortunately the film only skirts that concept and uses it as a more of a means to an end rather than a conversation.
The film focuses on three different men and in that two different debates. The first pair comes together when one of them threatens to jump to his death from – you guessed it – a ledge. The first man Officer Hollis (Terrence Howard) finds out his children aren’t biologically his right before being called to talk Gavin (Charlie Hunnam) off his perch. Of course as he finds out Gavin is on the opposite side of that fence; Hunnam’s character not only covets but sleeps with his neighbor’s wife. While this conflict of interest for Howard’s character is one of the more interesting aspects of the film it's overshadowed by the clandestine love affair and a slew of turgid inconclusive theological discussions.
As Hollis tries desperately to sort out his own demons and get Gavin off the roof the would-be jumper slowly unravels the details of the romance that landed him there. If he doesn’t jump at noon “someone else” dies. Now it doesn’t take a genius to figure out that “someone else” is Shana (Liv Tyler) the wife of that evangelical Christian neighbor Joe (Patrick Wilson). Is that enough plot for you? Because it was certainly more than enough for me. As we wind our way through this ambitiously complicated story we encounter Joe’s textbook impenetrable Christian ideals thrown right up against Gavin and his homosexual roommate. Oh yes the plot tries to get into that debate as well.
The capable cast does its best to bring the hefty winding story back down to earth and they almost succeed. Hunnam is the weakest of the bunch but he’s really there as a bit of beefcake to tempt Tyler’s sheltered character. The real heavyweight here is Wilson who despite being dealt a fairly narrow character who rattles off the same overzealous discourse we’ve heard time and again gives his performance everything he’s got. Joe isn’t much more than his stalwart religion and his mounting anger but Wilson tries damn hard to offer just a little something extra. Howard similarly lends weight to his character’s story though it unfortunately becomes little more than an afterthought once the romance between Gavin and Shana gets going.
In fact that romance is the most enjoyable aspect of the film even though it begs us to focus on the theological and moral questions at hand. The forbidden love builds awkwardly and organically something so many films tend to gloss over in order to get to the all-important first kiss. Luckily for many of the big questions that go unanswered in the film their chemistry carries the plot along and almost manages to distract us from their lack of resolution.
The Ledge seems to be a case of Chapman biting off more than he could chew. Every aspect of the plot is a worthy intriguing topic but when they all collide in a mere two-hour period it’s a challenge to give any of the components the attention and depth they really deserve.