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There is a tension within the latest instalment of the Star Wars franchise. On the one hand there is the industrial behemoth and immense legacy that is Star Wars. On the other hand there is writer-director Rian Johnson, coming from a background of independent filmmaking that includes Brick and Looper. This tension creates problems and also benefits. The biggest problem is the film is overly long and, despite having the structure of a chase thriller, Johnson presents three parallel plot lines, one of which is overdone and lessens the overall tension. This narrative baggyness is partly due to the apparent need of new Star Wars films to pay homage to what has come before, as much of The Last Jedi echoes The Empire Strikes Back while its third act is reminiscent of Return of the Jedi. Competing against this homage is Johnson’s innovations, such as this film largely picking up immediately after the events of The Force Awakens and his allowance for characters to ponder their choices, whereas JJ Abrams largely had characters making decisions at hyperspeed. These innovations are also a major benefit, with new directions for this most hallowed of cinematic sagas. The mythos and history of the Force is explored in more depth than previously seen, especially in terms of the hubris and failure of the Jedi. Explosions rock the drama both internally and externally, as ships explode in true Star Wars fashion, and interpersonal strife plagues both the Resistance and the First Order. Perhaps the most ferocious battles rage within the souls of Kylo Ren (Adam Driver) and Rey (Daisy Ridley), both trying to forge a place for themselves within a chaotic galaxy while (F)orces pull them in all directions. The overall result is mostly a creative and dramatic success, The Last Jedi delivering as a thrilling space chase of legacy and identity, with a surprisingly egalitarian subtext.
The challenge for science fiction film is that viewers have probably seen it before. When I reviewed Looper in 2012, I listed the various films that it references, intentionally or otherwise. A similar familiarity is found in Edge of Tomorrow, which feels like a combination of Groundhog Day, Starship Troopers, Source Code and The Matrix, with a bit of Saving Private Ryan, yet still manages to declare its own identity. This is partly due to director Doug Liman blending the comedic and dramatic elements of Christopher McQuarrie, Jez Butterworth and John-Henry Butterworth’s script, making the film’s first act very funny. Secondly, Liman gives the film a fast, urgent, visceral energy, placing the viewer in the midst of the action sequences that are both explosive and suspenseful. Tom Cruise’s star image receives a playful treatment, as his character William Cage is initially a hopeless coward who must learn both courage and comradeship. Emily Blunt makes for a convincing badass, her presence as well as the motley squad Cage is drafted into (especially Bill Paxton) resonating with Aliens. But rather than feeling derivative, Edge of Tomorrow evokes these other films with a sense of fun (without being overly referential), inviting the viewer to share its knowledge and understanding. Just as Cage sees each repetition of the same day afresh, so do we see these familiar elements with fresh enjoyment.
On the twelfth day of Christmas
The movies gave to me
Eleven Grey wolves
Ten Joes a-killing
Nine Lives of Pi
Eight Raiders Raiding
Seven District tributes
Six Unexpected Journeys
Five Looping Loopers
Four Argo film crews
Three Assembled Avengers
Two Dark Knights Rising
And a Skyfall from 00-Heaven.
That’s my musical version of presenting my top twelve films of 2012, and the reason I decided on a top twelve rather than a top ten. Not that 2012 featured so many astounding cinema experiences that I could not pick less than twelve – originally there were ten. But then I decided to put them into musical form, which necessitated an extra two. Ranking them was surprisingly difficult, and the factor I used to ascertain their positions was surprise. What surprised me, what met expectations, and what exceeded expectations were the deciding factors in deciding my favourites.
As I’ve written previously, expectation plays a large part in my engagement with a film, largely because I get involved in the hype and let it influence me – the cinematic experience is not only the time spent in the auditorium, but the anticipation that builds up through news, trailers, reviews and reactions of other viewers. My most anticipated film of 2012 was The Dark Knight Rises, and when I saw it I was far from disappointed. But Christopher Nolan’s EPIC CONCLUSION TO THE DARK KNIGHT LEGEND (sic) only met my expectations, it did not exceed them. It has divided opinion, although there seem to be fewer who thought it “sucks” than those who found it “awesome”. Similarly, while it was great to be back in Middle Earth with The Hobbit: An Unexpected Journey, there was an unshakeable sense of déjà vu which meant the film lacked freshness, unlike Avengers Assemble which united familiar figures in a new situation. Skyfall also divided opinion, as many thought it was superb but there were (apparently) instances of people walking out, which is baffling to me. I probably had a prejudice about Skyfall because it is a Bond film, and there is only so much I expect from the series. Happily, Skyfall gave me so much more than its franchise led me to expect, working as a great film in its own right.
When it comes to ascertaining what makes a film good, different people have different standards. For many, a crucial factor is character consistency and/or sympathy. For others, flashy action and special effects are important. Ultimately, there will never be universal agreement on what constitutes high cinematic quality, there will always be differences of opinion, and thank goodness for that because it would be very dull if we all liked and disliked the same things.
Fundamentally, I want high technical quality, such as detailed production design (Prometheus), expressive cinematography (Life of Pi), effective editing (Avengers Assemble, Argo) and direction that pulls all these elements together (The Dark Knight Rises). I also want conviction to subject, as few things frustrate me more than a film that raises a topic and then abandons it (The Iron Lady), so a film that sticks to its guns (The Grey) and has the conviction to deliver on what it sets out to do (Killer Joe) is a good one to me. Exploration of themes such as responsibility (Looper) and loyalty (Skyfall) also work, again so long as there is conviction throughout the filmic text. Detailed fictional worlds, especially science fiction (The Hunger Games) and fantasy (The Hobbit: An Unexpected Journey) work very well on me, and I like something visceral that draws me into the diegetic world and to make me feel what’s going on (The Raid). The films on this list gave me what I wanted, and the best gave me more than I expected.
I often ask people to explain their opinions and their explanations indicate the standards which they use for assessment. My standards probably seem strange and idiosyncratic, but they enable me to organise the list below.
Classic features meet contemporary panache in the year’s most surprising and satisfying film. Nobody did it better.
2. The Dark Knight Rises
An operatic conclusion to an epic saga. Sublime technical features express weighty themes in a compelling story.
3. Avengers Assemble
A marvellous assembly of sparkling characters, high stakes, wit, brio and inventive action.
A superb combination of satire, history, political commentary and nerve-shredding suspense.
An atmospheric crime thriller that uses its time travel premise to effectively explore issues of responsibility and culpability.
6. The Hobbit: An Unexpected Journey
A warm yet thrilling return to Middle Earth.
7. The Hunger Games
A grim vision of the future with powerful comments on voyeuristic pleasure.
8. The Raid
The most intense action movie in years.
9. Life of Pi
Beautiful, spiritual and metafictional glory.
10. Killer Joe
A jet black comedy which displays fearless conviction to its macabre tale.
11. The Grey
An enthralling, existential tale of survival.
Questions of faith and science collide with suspense and shocks.
A delightfully affectionate reboot of reinvigorated old favourites.
The Woman in Black
A genuinely chilling ghost story.
Slightly undercut by its episodic structure but still an emotional journey with moments of real power.
A humorous and touching tale of a family struggling to cope with loss and betrayal, with great use of its Hawaiian backdrop.
The Cabin in the Woods
Smart, funny and scary meta-snuff film about why horror movies happen.
Turkeys of the Year
1. The Iron Lady
A mess of under-developed ideas that squanders every opportunity for compelling drama.
2. Safe House
A potentially gripping thriller undone by distracting cinematography.
The penultimate hugely anticipated film of 2012 was the 23rd instalment in the world’s longest running film series, reaching a triumphant 50th year of James Bond, 007. Skyfall carried not only the expectations of being a major blockbuster, and a franchise instalment, but it was also a landmark film which had to both honour what had come before and show the old dog had enough life for another 50 years.
There are several ways in which Skyfall met this challenge. One of the most celebrated aspects of the film was its director, Sam Mendes. The first Oscar winner to direct a James Bond film, Mendes brought a particular set of baggage with him. Most successful with intimate personal dramas such as American Beauty, Revolutionary Road and Away We Go, Mendes’ forays into larger scale stories, such as Road to Perdition and Jarhead, were mediocre at best. Skyfall would be his first franchise film and his first action film. Despite Mendes’ prestige, the pedigree for a director like him was not promising, as Marc Foster is a director also known for more sedate fair than Bond, such as Monster’s Ball and Finding Neverland. Quantum of Solace was generally regarded as a failure, and the pressure was on for the 23rd film to return to the quality established in Casino Royale.
This quality brought with it further expectations, as Daniel Craig was being spoken of as the best Bond, even before the release of Skyfall. After his lean, intense yet vulnerable turn gave Martin Campbell’s 2006 reboot something different, fresh and exciting, the failure of Quantum of Solace seemed something of an aberration. Surely something had gone wrong and a Bond film featuring Craig should somehow be better. I think Craig makes a very fine Bond, and the problems with Quantum of Solace mostly relate to the director. Foster fails to give the film any suspense, as scenes go from a standstill to a breakneck pace, not allowing for build-up. Foster’s skills are ill-suited to directing action sequences which, as I have written before, require tension that needs to be built up. To have everyone suddenly burst out of their chairs and running like mad is too sudden a transition to allow any tension.
As an example, the first post-title sequence of Casino Royale is efficiently built up as Bond and his fellow agent Carter (Joseph Millson) watch their target in Madagascar, then move in towards him which increases the tension. Then the scene accelerates into a chase with Bond heading after Mollaka (Sebastien Foucan) through all manner of obstacles, the famous free-running through a construction site, fighting on top of a very high crane and culminating in a running gun battle through an embassy. This scene increases the stakes and in doing so raises the tension, whereas Bond chasing after Mitchell (Glenn Foster) in Quantum of Solace comes out of nowhere and, after the initial shock, the viewer is left disorientated and disengaged.
Mendes said in interviews that he was especially concerned about making the opening sequence memorable, as Bond has a distinguished history of opening sequences that grab the viewer’s attention. Skyfall pulls this off impressively, as we begin in Istanbul with Bond slowly pursuing a stolen hard drive, then missing a shadowy figure in the corridor. He meets with his fellow agent Eve (Naomie Harris) and there is a brief car chase culminating in a marketplace, which is followed by a motorcycle chase over the city rooftops. From there the chase progresses onto a train, with Bond making use of a convenient earthmover and gets wounded, then the chase moves through the train itself and eventually on top of it, before Eve is ordered to “take the bloody shot!” This line is significant, as it is the culmination of this sequence that is intercut with a parallel scene in London in which M (Judi Dench) barks instructions. The intercutting between the chase and the supervision heightens the tension by raising the stakes, and the finale of the chase creates further anticipation for the rest of the film.
Even at this early stage, Skyfall is playing to the audience’s expectations, and throughout displays an acknowledgement of what the viewer wants to and also expects to see. No viewer would believe that Bond is actually killed at the start of the film, and Skyfall understands the audience’s position as Bond’s re-appearance is hardly a revelation. Rather, we get to enjoy Bond’s hedonistic retirement in a tropical paradise, and his shadowy re-introduction at M’s home. Skyfall acknowledges the viewer’s expectations – this is a Bond film so he will come back at his own instigation – but also exceeds the expectation through the inclusion of Bond “enjoying death”, as well as the continued lively relationship he shares with M.
This is but one of many expectations that are rewarded, exceeded, and acknowledged. Many moments in the film refer to Bond’s history, much as The World is Not Enough did with lines such as “I never joke about my work, 007” and the reappearance of gadgets from previous films. Similar gags appear in Skyfall, such as Bond receiving his new gun, a Walther PPK, just as he was issued with in Dr No. Similarly, in a moment that might as well have featured a wink direct to camera, Bond reveals his Aston Martin DB5, made famous in Goldfinger. No explanation is given for him having this remarkable vehicle, which possesses a few modifications, and this is part of the fun – the film and the viewer share a smirk at the inclusion of this piece of nostalgia. Even Bond’s early “death” echoes You Only Live Twice, the viewer well aware that Bond cannot be killed at the start of the film, if indeed at all.
However, Skyfall retreats from excessive technology, at least as relates to Bond himself. When issued with his gun, another smirk is shared between viewer and film as Q (Ben Wishaw) admonishes: “What did you expect? An exploding pen?” This is both contemporary and nostalgic, as over the years, Bond’s gadgets became increasingly outlandish, culminating in the invisible car of Die Another Day. Pierce Brosnan’s last outing as 007 serves as a watershed in the franchise’s history, with the reboot Casino Royale acting as a return to a more gritty, “realistic” spy thriller. Quantum of Solace continued the emphasis on physicality, and Skyfall develops this conceit further, continuing the trend for physicality and reliance upon one’s own wits and abilities. Computer hacking gives way to machine guns and helicopters, then to jerry-rigged mines and pistols, and eventually to knives and unarmed combat. A disdain for sophisticated technology is demonstrated in a repeated gag about the “latest in communications technology: a radio transmitter”. At key moments, both Bond and his nemesis Silva (Javier Bardem) make reference to radio transmission, as if slapping the face of the computer boffin Q and his ilk. When Q inadvertently plays into Silva’s hands through his expert hacking, Silva admonishes the younger man with the message “Not such a clever boy”, before all hell breaks loose.
Not that Silva is above using technology: his nefarious schemes necessitate a global reach that is facilitated through him being an expert hacker as well, allowing him to destabilise governments and attack MI6 headquarters. But whereas previous Bond villains established their bases in volcano craters (You Only Live Twice, Goldeneye), undersea complexes (The Spy Who Loved Me) and even space stations (Moonraker), Silva’s lair is eerily simple: an abandoned city on an isolated island in the South China Sea, a ghost town that reinforces the almost supernatural influence that Silva enacts over the world. The scene that introduces Silva is a master-class in minimalism, as the mise-en-scene is a crumbling building reminiscent of a church, filled with computer base units and a few screens. This serves as a contrast to the steel and glass MI6 headquarters, a symbol of power that Silva easily infiltrates through his technological skills. Visually, Silva’s introduction is stunning, as he emerges at the end of the long hall and steadily walks towards the camera in a continuous shot. This long take further exacerbates the viewer’s anticipation for Silva to reach the foreground, while his silken tones echo through the cavernous space, emphasising our awareness as well as Bond’s that this is Silva’s domain.
Silva himself is a remarkable and impressive feature of Skyfall. The most effective Bond villains have been those that serve as a dark reflection of Bond himself, such as Grant (Robert Shaw) in From Russia With Love and Alec Trevelyan (Sean Bean) in Goldeneye. With Silva the reflection is multi-faceted, as he is not only a (former) successful MI6 agent, who like Bond has officially “died”, his relationship with M is a twisted version of the one she has with Bond. As in No Country For Old Men, Bardem delivers a thoroughly chilling performance of a genuine psychopath (despite a bizarre haircut): quiet, poised but with an evident relish, like a cobra that will smile as it strikes. Also, he demonstrates a remarkable ability to get under Bond’s skin, as evidenced in the homoerotic encounter between the two as Silva unbuttons Bond’s shirt in a seductive manner.
Craig’s films have downplayed Bond’s seductive powers, which became tedious and even painful during the Moore years. None of the last three films have ended with Bond in the arms of a lady lovely, and in Skyfall there are only a couple of such scenes. This emphasises a different relationship that is central to the film, between Bond and M, as well as Silva. Serving as the dark reflection of Bond, Silva is also coded as the bad son to Bond’s good son. Bond’s bristly but ultimately devoted relationship with M provides the emotional core to Skyfall, personal dramas adding to the plot developments.
As mentioned earlier, MI6 contrasts with Silva’s dilapidated headquarters, but there are different locations used by MI6. After the grand offices on the Thames are attacked, they move underground into a back-up HQ built out of Churchill’s WWII bunker. Thus begins the film’s concern with “Britishness”. Curiously for the British Mendes, Skyfall was his first foray into presenting something British, and nationality remains prominent throughout Skyfall. A key trope of the Bond franchise is exotic locations, which do appear including Istanbul, Bond’s “retirement” in the tropics and part of his mission that takes him to Shanghai and Macau, and from there to Silva’s island. But afterwards, the film takes place entirely within Britain, and uses its locations to interesting effect. Churchill’s bunker brings with it connotations of Britain under fire, and a chase takes place through the London Underground and into Westminster, with Silva disguised as a British copper. The film’s final act involves going “back in time”, travelling into the highlands of Scotland to a stately home. Both for Bond and for the film as a whole, the final act is a return to the past and to homeground, defending Britain against invasion.
Other tropes of “Britishness” appear: M has a china bulldog, decorated with a Union Jack, that becomes a talisman for Bond despite his dislike of it; Gareth Mallory (Ralph Fiennes), initially presented as an interfering Whitehall bureaucrat, is revealed to have a military history serving in Northern Ireland; Bond’s mission to Macau carries postcolonial connotations, the British agent exploring a former colony. The past haunts Skyfall, both in its narrative and our understanding of it. The past of the franchise itself explicitly returns when Bond enters M’s office, which is identical to the office of years gone by, visited by Sean Connery since 1962. I always remembered the door with leather padding, and seeing it behind Daniel Craig was an interesting blend of the old and the new. Clearly the blend of elements in Skyfall worked, as it has now become the highest grossing film ever at the British box office.
The history of Bond was not the only reference I found in Skyfall. In my last post on Looper, I commented on the inter-textual connections found in Rian Johnson’s film, as a central element in science fiction. For all its elaborate technology, the Bond franchise is not science fiction, but it also reminded me of other films. The Jason Bourne trilogy is an apparent influence on the reboot of James Bond, with a grittier approach and Daniel Craig constituting a more realistic and vulnerable spy protagonist in the mould of Matt Damon’s amnesiac assassin. Specifically, Skyfall’s opening chase through Istanbul is reminiscent of The Bourne Ultimatum’s frantic dash through Tangiers, including our hero riding a motorcycle up a flight of stairs. Bourne is not the only secret agent inspired by Bond and echoed in Skyfall, as a scene in which Bond moves through the London Underground, in constant communication with Q in a high-tech hub, is reminiscent of 24. When Silva is brought into custody, he taunts Bond and M much like the Joker does Commissioner Gordon and Batman in The Dark Knight, and like the Joker, Silva is both psychotic and physically deformed, as revealed when he extracts a prosthetic mouthpiece to reveal his true features in Skyfall’s most gruesome moment. Silva’s taunting of M also echoes The Silence of the Lambs, perhaps very deliberately. As in The Dark Knight and also The Avengers, Silva’s imprisonment is a ruse and all part of his master plan, a narrative trope that may well continue. John McClane has been described as a blue collar James Bond, and the final attack on Bond’s family home, Skyfall, features a highly organised assault team against a resourceful individual who uses his surroundings to his advantage, much like in Die Hard. To take it even further, Bond defends his home using homemade devices, not unlike Macaulay Culkin in Home Alone – not a comparison I ever thought I’d make!
One aspect of Skyfall troubles me: the reassertion of classic Bond tropes brings with it some disturbing gender politics. Since Goldeneye, the Bond franchise has taken some steps to distance itself from Bond being “a sexist misogynist dinosaur”, as M argued in Brosnan’s first outing. Tougher Bond girls have made appearances, such as Wai Lin (Michelle Yeoh) in Tomorrow Never Dies, Jinx (Halle Berry) in Die Another Day and Camille (Olga Kurylenko) in Quantum of Solace. Skyfall features Eve, who is Bond’s fellow agent in Istanbul and Macau, and with whom he appears to have a romantic liaison (though we’re spared the details). Eve is a competent field agent, but come the final scene, she is relegated to a secretary and revealed to be M’s eternal assistant, Moneypenny. This is another wink to the Bond fan, but also implies that secretary is the correct role for a woman. M’s fate implies this further, and the final occupant of the office seems a reassertion of patriarchy, as though the franchise has returned to where it belongs with men in the positions of power and agency. This is a disturbing element in a film aware of its legacy, especially in light of the potentially progressive amendments taken since 1995. Skyfall’s conclusion appears to suggest that the Bond franchise is not a place for women except in traditional roles.
Despite this disconcerting reassertion of patriarchy, I enjoyed Skyfall immensely. It was gripping and thrilling, well-plotted with detailed characters, exercised a knowing acknowledgement with the viewer to just the right extent, therefore avoiding being too clever-clever, and looked stunning. Some have described Skyfall as the best Bond ever, and while I think it is too early to say, it is certainly the most beautiful, as Roger Deakins’ digital cinematography looked deep and rich enough to swim in. Digital filming has been growing steadily in recent years, and Skyfall is a film that makes full use of its possibilities. There were points during the film when I wanted shots to linger on the myriad of colours captured in the frame, especially during a sequence in Shanghai. This sequence features one of the strangest fight scenes I have seen in a film, as Bond and his opponent move with a fluid grace within the shimmering beauty of the digital image. Alternately silhouetted and illuminated by shifting light patterns, the hand-to-hand combat becomes an almost dream-like dance, perhaps a microcosm of the dance of light and shadow that is cinema itself. This level of visual invention permeates the film, especially apparent in the climax, when the Scottish moors are illuminated by a deep red, casting an almost hellish yet still beautiful hue over the film’s finale.
Silva sends M a message that reads “Think on your sins”, and the themes of atonement and redemption reach fullest expression during the final sequence on the moors. Not only is the scene bathed in hellish red light, it also features Bond struggling with an opponent beneath the ice of a frozen loch, sinking deeper out of sight. Bond’s emergence from the water adds to the sense of a lone warrior battling the legions of hell, while in a church M awaits her fate. Her fate genuinely surprised and moved me, and I was left wondering whether M achieved redemption or damnation in the end. Much like Casino Royale and Quantum of Solace, Skyfall does not end triumphantly for our hero. It does conclude with Bond ready to get back to work, but it also possesses a profound ambiguity and sober ambivalence. For a Bond film to offer such ambiguity is genuinely surprising and impressive, enabling Skyfall to excel not only as a Bond film, but as a film in general, one of the most satisfying of 2012. I have previously written about expectations and how they influence our responses: with Skyfall I expected a good Bond film, but not a film that worked on so many levels and exceeded my expectations narratively, aesthetically and thematically. The blend of familiarity and innovation in Skyfall surpassed the (expected) pleasures of The Avengers, Prometheus, The Dark Knight Rises and Looper, providing one of the most satisfying cinema experiences I had in the past twelve months.
A late release of 2012, which I expect to be one of my films of the year, arrived with high expectations as to its quality. Rian Johnson’s Looper is, unusually, not a sequel, nor a prequel, nor a franchise instalment, a reboot, a remake or even an adaptation, but that rarest of films, an original mainstream movie. I found Looper an excellent sci-fi thriller, which used its time-travel conceit to effectively fuel its gangster setting and explore themes of freedom, destiny and responsibility. As Old and Young Joe, respectively, Bruce Willis and Joseph Gordon-Levitt convey excellent contrast between naïve nihilism and desperate hope, while Emily Blunt, Paul Dano, Noah Segan and Jeff Daniels provide sterling support, and Pierce Gagnon is thoroughly creepy.
Johnson’s style is unusual for an action film, favouring longer takes and a more measured pace than might be expected. The style is, however, effective, as rather than being caught up in frenetic action sequences, the film lingers on the consequences, both physical and mental, of violent action. We are used to seeing Bruce Willis wipe out a room’s worth of armed thugs, but at several crucial moments, Looper pauses to allow contemplation of what is about to come, and at one point denies showing us the kill. Instead, Joe’s face(s) shows the impact of what he has done, experience steadily etched into both, one youthful, the other aged, but both deeply pained.
Consequence is crucial, as the time travel conceit of Looper is deeply concerned with the impact of one’s actions, responsibility for those actions, and consideration of what impact actions have upon the future. Looper can become confusing if you think about its temporal mechanics too much, as Abe (Jeff Daniels) mentions. But it also uses these mechanics to motivate the overall plot and individual scenes, including a thoroughly nasty yet remarkably bloodless torture scene, and an emotionally powerful conclusion that emphasises personal responsibility. Whether the laws of causality would allow such attempts to change the future by altering the past is debatable, but that’s why we call it science fiction. However, the resonances with other science fiction films is quite striking, as it is easy to relate the film to others that are similar and yet different.
I am not alone in this response, as without pre-existing material to base expectations upon, the buzz surrounding Johnson’s third film seemed desperate to relate the film to other films, particularly in the science fiction genre. It makes sense to form associations through the time travel trope: Looper explores time travel in a similar way to The Terminator and Terminator 2: Judgment Day, Donnie Darko and Twelve Monkeys. All involve a traveller from the future who attempts to change the future by altering events in the past. Stylistically, Looper is very much its own entity, not as smooth as Cameron’s cyborg opus nor as trippy as Kelly’s debut or as skewed as Gilliam. A hard edge runs throughout Looper, perhaps echoing Johnson’s debut, high school noir Brick that also starred Joseph Gordon-Levitt. The measured pace restricts the visceral thrill of Looper’s action sequences, and the brutality of the film’s gangster setting is maintained, creating a grim and oppressive atmosphere. This brooding, malevolent oppression is in constant tension with the conceit of being able to change your destiny, through time travel or any other means. Looper’s grimness distinguishes it from Back to the Future, which is far more light-hearted and, furthermore, that film’s time travel and temporal causality is accidental rather than intentional. A more recent comparison is Source Code. Like Looper, Source Code involves an individual trying to change the past within a context that works against him and places him in terrible danger. Unlike Looper, Source Code is more concerned with alternate time lines than actual time travel, but both play to the conceit that one man can make a difference, face the past and fight the future (hang on, isn’t that Looper’s tagline?).
Other films that have been related to Looper include The Matrix, Children of the Corn, The Adjustment Bureau and Blade Runner, and these seem less obvious. A dystopian future need not always echo Blade Runner, and Looper’s largely rural setting is very different from Ridley Scott’s noir cityscapes. Only the final act bears resemblance to Children of the Corn, as Looper brings horror into its already potent genre mix of gangster, chase thriller and sci-fi. It is testament to Johnson’s skills as a writer-director that these elements integrate rather than clash – much like Argo, Looper performs an impressive balance between potentially disparate elements.
To compare The Matrix with Looper is strange, as the film’s subject matter as well as Johnson’s style is very different to the Wachowskis. While there is an element of mind-over-matter in Looper through the telekinesis of various characters, in The Matrix that element is part of the artificial reality, which is not a feature of Looper at all. Looper and The Matrix both involve men with a lot of guns, but that is hardly a distinctive feature. Similarly, as Looper is an intelligent sci-fi film with some complex ideas, an obvious reference point is Inception. Indeed, a moment in the trailer in which objects levitate reminded me of the famous upward tilt of a street in Inception, but when I saw Looper itself there was very little that reminded me of Christopher Nolan’s dream heist film.
Why is it so hard to take a film on its own without reference to other films, and why is it so easy to make these inter-textual connections? Saturation may be partly responsible, especially in an era of cross-media platforms where films, TV series, video games, music videos, webisodes, trailers, advertisements and YouTube videos assail us from every screen. But such inter-textual references are hardly new, as studies have demonstrated how major texts from Gothic literature such as Frankenstein fed into the work of later writers like Jules Verne and H. G. Wells. Subsequently, this literature fed into science fiction films from A Trip to the Moon and Metropolis, to The Blob and The Day the Earth Stood Still, to Forbidden Planet and 2001: A Space Odyssey, Star Wars and Blade Runner, The Matrix, Inception and Looper. Science fiction is inherently inter-textual, as any science fiction film seems influenced by others and may well have been, consciously or unconsciously on the part of the filmmaker. As sci-fi consumers, we link one text to another as part of our textual understanding. As another example, when I recently saw the remake of The Day the Earth Stood Still (which was not as bad as I feared it would be), while being very different from the original film, it also looked to have been influenced by Independence Day, Close Encounters of the Third Kind as well as E.T: The Extra-Terrestrial. Similarly, Looper is perceived and understood as a science fiction film in relation to other science fiction films, so critics and audiences alike forge these links as part of our understanding of the science fiction mega-text. This works in several ways, as audiences are savvy enough both to see the commonalities between films like Source Code and Looper, and to create their own links between Looper and The Matrix or Inception.
These inter-textual references, not to mention marketing and commentary, created expectations for Looper. Not being a franchise instalment, marketing was more moderate and I only noticed the trailer and posters. But reviews had an influence: Total Film, which I tend to agree with, gave Looper a five star review and described it as the best sci-fi film since Moon, while Empire also gave it five stars and compared it favourably to Repo Men, Surrogates and In Time. The BBC’s Mark Kermode was positive but more reserved. Overall, critical reaction was very positive, so one could go into Looper expecting something good.
Precisely because of its non-franchise status, I was not sure what to expect of Looper except that it be very good, based on the reviews that I encountered. Most years deliver a major film which is not based on pre-existing material. Looper was the original oddity of 2012, much like Super 8 in 2011, Inception in 2010 and Avatar in 2009 (Avatar can be accused of being unoriginal, but it is not an adaptation of any previously published property). Super 8, Inception and Avatar were all among my favourite films of their respective years, and they are also all sci-fi. The link I made for Looper therefore was with earlier favourites of mine, and I expected the film to blow me away as those had. It is perhaps unsurprising that it did not, as Looper is not an emulation of those films and, overall, I do not think it is as accomplished. Super 8 created a convincing, believable community that was afflicted with something very strange; Inception used its high concept to explore issues of grief and memory while also being meta-cinematic; Avatar re-invigorated cinema and performed a spiritual call to arms. Looper merges genres in an intriguing and cohesive melange, but I did not feel it offered me the combined emotional and intellectual satisfaction of those previous films. Looper has much to admire and to enjoy, regardless of what it is like and unlike, but once again, expectations were too high and had a negative effect upon my appreciation of the film. That said, I imagine it will be rewarding on repeat viewings, and like Prometheus, should be an interesting film for philosophical discussion.