Flying Spaghetti Monster wrote:
What is so odd to me is that it is the kind of film that does have a really interesting core to it, and it has me thinking that it existed originally(and would have worked better) as a short subject but was then expanded to feature length by the powers that be. The core of the story is the very premise of Loopers and their role in criminal society and how the main character encounters himself... and that dilemma not only serves as the high-concept pitch for the film itself, but would serve as the entirety of the story (and it would be all that was needed) if it was a short subject. Now it's been padded, TKs were added, and instead of just being an interesting future detail, the idea of the TK plays an important part in the climax despite hardly being mentioned for over an hour of screentime. When the film's Terminator plot takes over (which plot which, mind you, is not altogether uninteresting) it seems to take away from the allure of the original high concept pitch. Looper as a short subject would have been a tighter and more probing affair had they stuck to their guns.
Um, no. It's obvious that the loopers themselves are a plot element introduced to set up the central themes and conflicts: about family, about how your choices shape you, about how to let go of the past (or even the future.)
The looper concept is just setup for the real drama, which is between Sara, Cid, Young Joe, and Old Joe.
It sounds like you wanted a high-concept sci-fi thriller that was about loopers but with a completely different narrative thrust. Well, that's not the film the director made.