In 2074, when the mob wants to get rid of someone, the target is sent into the past, where a hired gun awaits - someone like Joe - who one day learns the mob wants to 'close the loop' by sending back Joe's future self for assassination.
In the year 2154, the very wealthy live on a man-made space station while the rest of the population resides on a ruined Earth. A man takes on a mission that could bring equality to the polarized worlds.
Following clues to the origin of mankind a team journey across the universe and find a structure on a distant planet containing a monolithic statue of a humanoid head and stone cylinders of alien blood but they soon find they are not alone.
In a future where people stop aging at 25, but are engineered to live only one more year, having the means to buy your way out of the situation is a shot at immortal youth. Here, Will Salas finds himself accused of murder and on the run with a hostage - a connection that becomes an important part of the way against the system.
As a war between humankind and monstrous sea creatures wages on, a former pilot and a trainee are paired up to drive a seemingly obsolete special weapon in a desperate effort to save the world from the apocalypse.
After the crew of the Enterprise find an unstoppable force of terror from within their own organization, Captain Kirk leads a manhunt to a war-zone world to capture a one-man weapon of mass destruction.
With the help of a mysterious pill that enables the user to access 100 percent of his brain abilities, a struggling writer becomes a financial wizard, but it also puts him in a new world with lots of dangers.
In the year 2044, a man working for a group of killers called "Loopers" (they work for the mob and kill people who are sent blindfolded back in time from the year 2074 by their bosses) recognizes a victim as himself. He hesitates resulting in the escape of his older self. Written by
The red car Joe drives is a mark 1 Mazda MX5 (aka Miata). The car was originally manufactured between 1990 and 1998 as is in keeping with Joe's late 20th century "retro" style. See more »
When Joe and Cid are having a conversation looking out of the hatch at the end of the tunnel from the house, the branch holding up the hatch changes position from shot to shot. It is rotated about 90 degrees between the positions and the position changes four or five times during the conversation. See more »
Time travel has not yet been invented. But thirty years from now, it will have been. It will be instantly outlawed, used only in secret by only the largest criminal organizations. It's nearly impossible to dispose of a body in the future... I'm told. Tagging techniques, whatnot. So when these criminal organizations in the future need someone gone, they use specialized assassins in our present called "Loopers." And so, my employers in the future nab the target, they zap them back to...
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Sitting here the day after viewing Rian Johnson's Looper, parts of it are still falling in to place. Standing out amongst this years crop of mostly underwhelming sequels and comic book adaptations, Looper thunders onto the screen, showing, much like Inception did two years ago, that there is a place in 2012 for fresh material and just how good it can be when it's done right.
The film tells the story of Joe (Joseph Gordon-Levitt), a hit-man for an organised crime syndicate tasked with assassinating targets sent from the future. After being confronted with his future self (Bruce Willis) and failing to perform, Young Joe is forced to track down Old Joe and finish the job before being tracked down himself by the nefarious mob led by Abe (Jeff Daniels). However there is much more to the story than the basic premise, and Johnson isn't afraid to keep details close to his chest until later in the film than most movies of this type, so I won't spoil them here.
While certainly paying subtle homage to its predecessors, Looper is a stunningly original sci-fi masterpiece, vastly superior to any of the higher profile action releases this year. While certainly made on a much larger playing field than Johnson's previous work (Brick, The Brothers Bloom), there is still a small-scale, independent feel to the film, and it benefits from clearly staying completely under the control of the young director. Delivering excitement sprinkled with thoughtful themes of personal sacrifice, he offers us much to chew on.
Johnson understands that a successful action film doesn't need an explosion every ten minutes, and allows ample time for developing character and story, something which will likely divide audiences. Looper is very deliberately constructed, and after the highly charged opening establishing the intricate time-travel premise and direction of the plot, Johnson scales back the action almost too much as he ambitiously juggles the many and varied story elements he has created. Thankfully, any weakness in the middle of the film is largely overshadowed as Johnson launches the third act with such ferocity that the stark change of pace leaves you breathless.
Despite the problems in the middle of the film, Looper overcomes its flaws purely by being that rare beast in Hollywood nowadays, the totally original script. Not an adaptation, not a sequel or remake, but a fresh idea from the mind of an immensely talented young film-maker. In a perfect world, Looper would be the game changer it deserves to be, slapping Hollywood studios across the face and announcing that not everything has to be a PG-13 franchise based on a comic book. It's unlikely that this will the case, and it remains to be seen whether or not the film will even be a success, but it's encouraging to see that there are young auteurs at work who are fighting to craft new and exciting stories, even if we only get to see the results every year or two.
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