James A. George, Eyewear film critic on Looper
In my reviews for Eyewear I try to discuss
plot as little as possible. I strongly believe that the purest and most
fulfilling experience had in the cinema is when the viewer has avoided as much
media concerning the film as possible in this world of constant in-your-face
advertising. To discuss Looper at all the following must be revealed; there’s
time travel and there’s telekinesis, both of which are revealed right at the
start. The latter feels extremely tacked on so that the plot structure works but
(along with one flying motorcycle) feels out of place in what is a thoroughly
realised and believable future.
Time
travel is messy, and one could dissect the plot and raise logistics questions
but Looper pushes this aside by moving along rapidly and entering human
consciousness into the mix. I can’t claim to be a sci-fi expert outside of the
medium of film, but at least in film this is a fairly unexplored formula. The
dark experiments of memory and physicality concerning time travel conducted by
characters are unique and result in a lot of answers to “what if” questions you
probably hadn’t but wish you had considered. Alongside all this sci-fi
excellence are a haunting depiction of age, young and old, and an elegant study
on destiny.
The
script is beautifully written and the combination of direction, cinematography
and editing breaks away from boring Hollywood convention. The violence is
graphic but kept on a leash – skipped straight to the aftermath, or even highlighted
in one long take or in distorted slow motion if necessary. The camera work is
effective, moving only when it adds to the atmosphere. The framing is composed
to explore the comedic undertones and simultaneous harsh reality of such a
gritty story. The weight of the dystopian setting is kept at a distance as not
to dilute the finely crafted film but is paid enough attention as evident in
the cinemagoers I heard talking tirelessly about the film.
Joseph
Gordon-Levitt and Bruce Willis play the same character, Joe, at different ages.
Many don’t dwell on Bruce’s acting talents but this is a good example of his
range and subtlety. I did wonder if there was some element of method acting
when the two share the screen when Willis declares how strange it is to look
into the eyes of his younger self; considering the eerie yet sweepingly
realistic makeover teamed with Gordon-Levitt’s impeccable impersonation of
Willis. The careful flash-forwards and flashbacks, the engaging
montage sequence and a key exchange in a diner result in three-dimensional
characters that could have otherwise been tough guys with cool guns. Emily
Blunt as countryside farmer and mother, Sara, trying to avoid the polarized
wealth of the city for the sake of her son is strong and compelling. None of
the characters in this film are angelic and although there is a clear line
drawn between the protagonists and antagonists, they’re all as enthralling as
the other and right up to the startling conclusion I was itching to see all the
paths play out and enjoy every moment en route.
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