A lot of Looper is a film noir set in the near future. Criminal–but basically good guy–Joseph Gordon-Levitt ends up on a farm, as de facto protector to a young woman (Emily Blunt) and her kid. Except this part comes after Looper is an action movie where Gordon-Levitt teams up with his future self (Bruce Willis) against his criminal associates. And before it’s that action movie, it’s a future movie for a little bit. It’s most fun during the future movie stuff–Paul Dano’s a good lame sidekick to Gordon-Levitt and Jeff Daniels is fun as his boss.
But, as it turns out, director Johnson wasn’t satisfied with a film noir so instead he made a sort of “smart” superhero movie, along with a depressing time travel movie. Basically, he ripped off Twelve Monkeys and Unbreakable… and brought back Bruce Willis.
Gordon-Levitt’s okay in the lead. He’s in a bunch of make-up and it seems to restrict his facial movement. Willis has his moments, but one has to wonder if he remembered how much better Monkeys did at something similar. The real acting powerhouse is Blunt, who’s fantastic in her role.
Johnson tries really, really hard to be profound and instead he’s just annoying. Looper goes on way too long to nowhere near good enough a conclusion. Nathan Johnson’s music is terrible, which especially aggravates at the end when Johnson goes through his five endings.
Looper should’ve been a no-brainer. It’s disappointing.
Written and directed by Rian Johnson; director of photography, Steve Yedlin; edited by Bob Ducsay; music by Nathan Johnson; production designer, Ed Verreaux; produced by Ram Bergman and James D. Stern; released by Tri-Star Pictures.
Starring Joseph Gordon-Levitt (Joe), Bruce Willis (Old Joe), Emily Blunt (Sara), Paul Dano (Seth), Noah Segan (Kid Blue), Piper Perabo (Suzie), Jeff Daniels (Abe), Pierce Gagnon (Cid), Xu Qing (Old Joe’s Wife), Tracie Thoms (Beatrix) and Garret Dillahunt (Jesse).