It’s about time for a changing of the guard in science-fiction, and “Looper” heralds perhaps the sign that the genre is in young, fresh, and good hands. Rian Johnson’s time-traveling tale is an intelligent film that hopefully points to revitalization by the people who grew up on the classics of the 1980s. Its delicate construction and serious contemplation moves Johnson into the league of J.J. Abrams and Duncan Jones in terms of directors moving what was formerly considered kitsch into respectable art.
“Looper,” upon a little bit of pondering, feels very much inspired by James Cameron’s “The Terminator.” Though we still watch that movie nearly three decades later, it’s mainly to be amused by the ex-Governator, not to be wowed by the script or the direction (and most definitely not by the performances). And yes, it’s in the Library of Congress and is unilaterally praised, but “The Terminator” is able to get away with its unabashed Roger Corman, B-movie background now largely because of our fondness for nostalgia.
Johnson takes what worked about “The Terminator,” the time traveling plot device and the thematic weight, and sets it in a frame evoking “A Clockwork Orange” or “Blade Runner.” His “Looper” takes place in a future not blatantly dystopian, but rather cleverly thought out with depth that doesn’t draw attention to itself. Viewers willing to take the plunge into Johnson’s world multiple times will undoubtedly be rewarded by the subtle details he hides throughout the film.
I could pound out reviews for movies I love or movies I hate like rapid fire. I know what works and what doesn’t in those films – the only challenge is figuring out the frame.
All too often, small-scale indie comedies fall into the “coulda been a contenduh” category. They have great potential to succeed, but like Greek tragic heroes, all have some kind of flaw that prevents them from achievement of their goals.
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