5/5 Popcorns

Now and again, a sci-fi movie comes along that does everything right. It creates an authentic futuristic world where complex characters navigate an intricate, twist-ridden plot, tied together with an ending evoking one simple word: “wow.”

“Looper” is a rare gem in today’s heap of remakes and sequels — an entertaining original concept that packs a punch. The bloodstained time-travel story balances cerebral drama, thrilling action and mind-bending special effects set against a striking dystopian atmosphere.

Masterful acting takes Rian Johnson’s clever script to the next level, led by a captivating performance from the film’s young star, Joseph Gordon-Levitt. Despite almost unrecognizable face makeup, he establishes himself as a bona fide leading man, if he wasn’t already. Gordon-Levitt, who previously starred in Johnson’s 2005 neo-noir mystery, “Brick,” even outshines an older version of himself (Bruce Willis).

“Looper” is the complete package: a thought-provoking thrill ride packed with dizzying action sequences and eye-popping CGI. Add a gifted cast and a heavy dose of originality, and it’s far and away the best sci-fi film since “Inception,” maybe even better.

In 2074, time travel has been invented and outlawed, but criminal organizations use it illegally — sending poor souls back in time to get offed and erased from history. Joe (Gordon-Levitt) is a looper in 2044 Kansas. He waits in deserted fields for hooded victims to materialize and blasts a gaping hole through them with a grisly short-range shotgun called a “blunderbuss.”

Loopers are overseen by a scraggly-bearded mob boss named Abe (Jeff Daniels) and spend their downtime in sleazy clubs getting high via eye drops. The only rule: Never let your target get away. But during a job, Joe comes face to face with his future self (Willis) and just can’t pull the trigger. Both Joes go on the run, hunted by Abe and his gat men — an army of thugs with giant pistols.

Young Joe takes refuge on an isolated farm, complicating the lives of Sara (Emily Blunt) and her 10-year-old son. Together with his older self, they try to execute a plan that could radically alter the course of history.

Gordon-Levitt inhabits Joe with detached charm, pairing his new Willis-like face with a gravelly accent and vacant stare. He strides confidently through the film with slicked-back hair and a leather jacket over his vintage shirt and tie. The time-travel mechanism succeeds because Gordon-Levitt talks and moves like a young Willis, but with a quiet edge.

Willis is right at home calling his younger self a moron and doing loads of shooting and ass-kicking. He’s just padding his manly resume—emerging once again literally soaked in blood, with a trail of dead bodies in his wake.

“Looper” manages to stage impressive visuals and immersive action with a budget of only $30 million, compared to recent big-budget sci-fi fares, like “Prometheus” ($130 million) and “Total Recall” ($125 million). Johnson weaves hover-cycle chases and extravagant shootouts with subdued dramatic scenes, like present and future Joe making witty conversation in an old-fashioned diner.

Johnson’s constructed future is familiar enough to feel real but adorned with plenty of eye-catching surreal elements and gadgets. Joe speeds through the bleak city in his sleek convertible, passing gleaming modern structures juxtaposed with scores of homeless in tented slums. Ten percent of the world’s population also has a genetic mutation called TK (telekinetic), but the extent of its ability is levitating small metal objects for coin tricks.

The cast is rounded out with entertaining performances from talented supporting players. Blunt impresses as Sara, complementing a spot-on Southern accent with genuine emotional warmth and a haunted look in her eyes. Daniels steals his few scenes with dry wit and deadpan delivery as a genuinely frustrated bad guy.

Yet the most powerful acting comes from newcomer Pierce Gagnon as Sara’s son Cid, more than holding his own with the adults. Behind his childish demeanor is a chilling intensity.

“Looper” slows down to explore larger themes of regret and sacrifice, but always speeds back up building to a jaw-dropping finish. It’s an uncommonly satisfying ride that also makes you think.

Where other sci-fi experiences veer off on head-scratching tangents or simply fall flat, “Looper” comes full circle.

Published on October 4, 2012 at 12:10 am

Contact Rob: rjmarvin@syr.edu