Looper demands a strong commitment from the audience because you will either love the film or hate every frame. For instance, the structure unfolds in a free-form style, much like jazz. Writer/director Rian Johnson offers his spin on every alternative reality picture from The Time Machine onwards. Overall, the picture feels wanting with pacing that is very deliberate. Also, viewers may have a tough time relating to a character whose despicable nature seems off-putting at best.

Joe (Joseph Gordon-Levitt) makes his money as an assassin or “looper,” bumping off targets sent from the future. After betraying a close friend, he finds himself in a difficult position when his older self, played by Bruce Willis, suddenly appears right in front of him. What will he do next? This question ignites the plot. However, the story lacks some key connective tissue that could make it masterful.

Arguably, the biggest drawback here could be Gordon-Levitt, who has yet to advance to the status of formidable acting talent. Playing opposite Willis, the contrast in style and emotional weight strongly favours the veteran. The younger thespian just doesn’t know how to deliver his lines without whispering them. Adding to which, the less than subtle makeup job hardly does him any favours.

The best part of Johnson’s screenplay has to be the ending because the build-up seems so dry and clinical. Stylistically, Looper has a tendency to meander. Bob Ducsay’s editing seems awkward, an out of focus novelty. In my view, the film doesn’t look or feel as clever as it’s letting on.

(Released by Sony Pictures and rated “R” for strong violence, language, some sexuality/nudity and drug content.)