This is another poster for ‘The search’ which I had co-written. Rough cut has been seen. Excitement has been felt.
Looper is in some ways what Inception is not. And one of those ways is that it never becomes a complete big studio movie package experience. Looper shows the courage to make some dark choices. The central characters and their actions are not dictated by audience approval. And that makes it a little more unpredictable. The movie does not tie up everything in a pretty bow for you to go home hollow.
If you go in expecting an action film you will be disappointed. It doesn’t have elaborate and expensive set pieces winding down endlessly to pumping music. And I felt that the visual aesthetics are a little raw. May be intentional. And we feel an emotional disconnect with the central characters except with that of Emily Blunt.
Rian Johnson again brings in some refreshing originality after Brick and Brothers Bloom. I am quite sure that there will be as many people hating Looper as much as who love it. But for a 30 million dollar investment, it is a movie made with some guts.
Where does experimentation ends being art and start becoming a mind numbing bore? This fine line between brilliance and obscurity scares me as a scriptwriter. In a film, the margin for error is even narrower than we think.
Take Killing them softly. It does cultivate the atmosphere well. I loved those two half witted characters who rob the mafia. I loved the fact that in this film, among all the characters, the lead character deserved the least of our sympathies. I loved the fact that the action whenever it happens is not contrived or artificially complicated to feed our need for thrill.
Despite being smart, Killing them Softly clearly lacks something. It fails to make me care for anything happening on screen. It fails on the basics of story telling. I understand that the dialogue oriented scenes (where most of the action is revealed through tangent conversations) is the style of the book that was adapted into this film. But after Tarantino films, it is tough the shake off the feeling of familiarity when you see lot of smart irrelevant dialogue in an crime thriller. And the allusions to American economy at various points becomes just plain irritating (‘Okay, I get it. Please don’t play another speech by Obama in the backdrop, please.’)
And sometimes the play with visuals and sound (like the flashes and sounds a character experience after a fix, the scene of Brad pitt killing a character at a traffic signal) are innovative but not really enjoyable.
Yeah, I guess that is the problem in a nut shell. You can be clever as much as you want. But art is about making a connection. It is about taking you along. Any amount of visceral brilliance may still fall short on that.