Is it odd that the thing I found most remarkable about the film Looper wasn't its intricate plot, innovative sci-fi setting or strong performances, but the strange look of Joseph Gordon-Levitt's face? Seriously, it looks like it's been moulded out of plasticine, like a sophisticated Doctor Who creature. Why they chose to do this I can't quite fathom, although I suspect it's to do with his relationship with Bruce Willis. No, not that kind of relationship.
Looper has the hallmarks of classic sci-fi written all over it, but somehow manages to appear fresh and exciting. The setting is a sleek cyberpunk future, where that old Star Trek writer's gem has recently been invented – time travel. The problem is, it's illegal, and only available on the black market, where strangely Jewish-looking gangsters send back people to be killed by "loopers" – hitmen of the past operating for mob bosses of the future. A little confusing, but handily explained by Joseph Gordon-Levitt in a practically fourth wall breaking voiceover. On a routine day of the job, Levitt is suddenly confronted by a future version of himself, played by none other than Bruce Willis. I guess that's what the prosthetic face was for, to make Joseph Gordon-Levitt appear like a younger Bruce Willis (although I'd rather see Willis looking like an older Levitt). The problem is, Levitt looks more like Homer Simpson than John McClane, with a practically shaded in beard stubble.
But that doesn't really detract from the overall quality of the film, which is one of the most innovative and exciting films I've seen all year. As Levitt goes after an escaped Willis – not killing your future self is considered a Bad Thing by scary mob boss Jeff Daniels – we see the film settle into its element, which is a redemption story of sorts. Levitt joins up with ranch worker Emily Blunt and her alternating cute/arsehole son, as they work out what Willis and Levitt's shady organisation is playing at.
The film is clever in manipulating the audience's sympathies. While Levitt is initially set up as a kind of anti-hero of the film, Willis comes along and shows him up to be the self-centred douchebag he really is. But Willis then goes on a mission that even Alex Delarge would find morally dubious, and it's left to Levitt to play the hitman-with-a-conscience role.
Overall this is probably one of my favourite films of 2012; high praise in a year with such greats as Margin Call, Skyfall, and (of course) The Cabin In The Woods. And don't be put off by the time travel element, since there's a conscious effort to not go into the wibbly-wobbly technicalities of it. Take note, Shane Carruth.
★★★★★
