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Is The Heinlein Estate Getting Royalties? Looper International Trailer

By Steven Lloyd Wilson | Trailers | August 15, 2012 | Comments ()


looperparty.jpg

The latest international trailer for Rian Johnson's Looper brings out the All You Zombies treatment in full force. If you've read that old Heinlein story, you'll get the reference of circularity, and if not, then you should read it immediately. I won't spoil it for you, but suffice to say, it takes the notion of a time traveller being tasked with killing his older self to even greater heights of gorgeous paradox.

Here's the trailer, with what might possibly be French subtitles, if you're into that sort of thing.

Rian Johnson certainly has the credibility to pull off a brilliant and intelligent movie after Brick and Brothers Bloom, although there wasn't a hint of science fiction in his previous work. We can forgive that, I suppose.

What makes this film so exciting is that it seems to capture that essence of the best time travel stories. Good time travel stories allow us to change the past, but great ones are fundamentally about futility, about how whatever change we could have made, has already been made. These stories are the fantastic four dimensional loops, the ones in which the first scene of the film is the same as the last scene, not because of a flashback, but because we fully traverse the knot of time.

Looper feels like those great stories do, and not just because Bruce Willis still hasn't found any monkeys.







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Comments Are Welcome, Bigots and Trolls Are Not


  • BiblioGlow

    I just went and found All You Zombies, and now my brain hurts. I tried to figure out if the main character should even exist no fewer than three times. I gave up. Oh Heinlein, you sexist bastard, I love you so.

  • Dragonchild

    This is just me, but I find the stories about futility to be just as trope-y as the change-the-past stories. Making something emo doesn't automatically make it good. Tone is just tone; quality is about execution and in that case the theme shouldn't matter. The decision to make a story uplifting or dark is as relevant to the assessment of quality as the secret ingredient in an episode of "Iron Chef". It may make it more or less challenging, but otherwise it's irrelevant.

  • Why does JGL's face look so fucking weird in this movie?

  • The pig belongs to all mankind

    He's been made up to look more like a young Bruce Willis.

    I don't really think it works, though. It would have been less distracting with his normal face.

  • Kip Hackman

    Someone answer the man's question!

  • Hope the dialog is better than Brick, or I'll exit stage right pronto before the Micks can gin up a frimmy on my mojo, pal.

  • branded_redux

    Neo-noirs tend to use a different style on purpose, yes.

  • I thought that was one of its many strengths. I guess it hinges on whether you buy into the premise or not.

  • It seemed implausible that a teenager would use ancient hard-boiled slang. Maybe it would be easier to swallow if they had established that the protagonist was obsessed with old movies or detective novels, but it doesn't explain why everybody else understands what he's saying and talks that way too. Maybe it's one of those Brechtian devices to remind the viewer that they're watching an artifice. I don't quite understand why sometimes those things work (like the sets in Dogville) and other times they don't work, or for me personally they don't work.

  • marya

    Why does there have to be character motivation for using that unusual language? In the world of that movie, teenagers talk like that. I don't understand the requirement that characters must speak like me in order to be "realistic." Do you find the dialogue of True Grit, Clueless, or Pulp Fiction to be implausible?

  • They don't have to speak like me. They have to speak like characters in their situation would. I don't speak like people did in 1870, but True Grit portrays people from around that time, including the way they might have talked. Some teenagers around the time of Clueless really spoke like that. Occasionally Tarantino's characters launch into extended speeches which seem implausible, but I don't remember anything that seemed very stilted or odd in Pulp Fiction. Walken's whole speech seems over the top, but he gets away with it because it seems like an obvious joke.

  • BWeaves

    So, if we assume that there are no paradoxes in the story, Bruce Willis knows everything JGL is going to do, and so, should be able to stay way ahead of him. Bruce can't kill JGL, as that would make himself disappear. JGL could still kill Bruce, so there's that. Or JGL could team up with Bruce and hide him or help him to get back, which could be the reason the bad guys in the future send Bruce back to be killed. Nothing JGL does from this point forward will change the fact that Bruce is sent back to him, as it's already happened.

  • I am annoyed by your reference to monkeys in the last line, as I was hoping to make that reference myself.
    Fuck you.
    I WONDER IF HE FINDS ANY MONKEYS?!

  • Ted Zancha

    His father is going to be very upset when he hears about this. And when his father gets upset, the ground shakes.

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