Looper

'Joseph Gordon-Levitt' (qv) went through subtle prosthetic makeup around his nose, lips, and brow to look more like 'Bruce Willis' (qv), but the makeup artists failed to synchronize the actors' ears.

Willis has lobed ears while Gordon-Levitt has attached ears.

When Paul Dano's character Seth is at young Joe's apartment waiting for the hit men to kill him, his nose is runny /not running / runny again.

When Sarah is doing multiplication tables with Cyd, the first tile we see him place (56) moves repeatedly between shots - it's correctly on 7x8 from his point of view, but the tile is on 7x9 when we move to her point of view.

The next tile (32), which he supposedly places on 8x3, is actually placed on 7x8, adjacent to the incorrectly-placed first tile from Sarah's point of view When Joe is talking to Cid in the kitchen at night, Cid has a noticeable gap in one of his front teeth.

In the next scene Cid is talking to his Mother and still has a very wobbly baby tooth where the gap was previously.

When Joe and Cid are having a conversation looking out of the hatch at the end of the tunnel from the house, the branch holding up the hatch changes position from shot to shot.

It is rotated about 90 degrees between the positions and the position changes four or five times during the conversation.

Before Joe's first meeting with Abe, Kid Blue is messing around with his gun, eventually winding up pointing it at Joe and cocking the hammer.

The film cuts to a shot of Joe, then to a shot of Kid Blue pointing the gun at Joe with the hammer uncocked.

The next shot of Kid Blue shows him with his thumb on the cocked hammer.

When Cid is answering multiplication questions with Sara and answers the 7x3 question for the 21 tile, which is then placed on the board, it disappears in the next shot, reappears in the following shot and disappears again in the next shot.

When Cid and Sara speed towards Old Joe and the car flips and lands on the road, a roll cage supporting the car's roof is clearly visible.

When Joe and Seth are talking in Joe's apartment towards the beginning of the movie, the streams of tears on Seth's cheeks and upper lip change multiple times in between the close-up shots of his face.

When the truck is upended and overturns, it is clear that there is no one in the cab.

Then when it comes to rest upside down on the road, the close-up reveals the Sara and Cid characters held inside by their seat belts.

When Joe and Old Joe are in the café together, the waitress Beatrix comes over to take their order, and their table is empty.

However when she returns to give them their food, there are two drinks already on the table.

We know that she has not given them their drinks order previously because the rest of the scene is a conversation between the 2 characters in which she does not reappear.

The young Joe is right-handed, the older one played by Bruce Willis, is left-handed.

When Sara is smoking in bed, the length of the cigarette varies inconsistently between shots.

When Sara walks up to Joe and inspects his face by the end of the movie, even though he's supposed to be dead, a pulsating vein is clearly visible on his temple.

When Seth is in Joe's apartment about to be killed, Seth is heavily sobbing in one shot, calm in the next and then heavily sobbing in the next shot.

When Seth enters Joe's apartment, sweat is visible on his chin.

In the next shot of Seth there is no sweat.

Young Joe disposes of bodies, by throwing his victims downwards a shaft, ending up into the fire.

The actual body we see ending up into that fire seems to slide horizontally towards the fire, instead of vertically falling into it, given the orientation of the fire.

Late in the movie, when they are in the field, there are rows of some crop (maybe peanuts) then in another scene, the Field is freshly plowed.

Then there is grass or corn shown in the field.

As the Gat men are mobilizing at Abes and filing out, on the video screen on the right you can see the same figures pass by over and over.

When old Joe is leaving the golf-cart in which he blew out the windshield to kill the driver, the windshield is still in one piece, as seen in the reflections.

When the younger version of Joe's older self is waiting for HIS older self to appear, stubble is shown clearly on his face.

After he shoots his older self he bends down to collect his silver/gold bars and the stubble on his face is gone.

When the mob is preparing to send back Old Joe, there are four gangsters.

Two restraining him, one attaching the gold bars and another preparing the time machine.

In the fight that follows, there are only three of them.

When Joe is shot by Sara with rock salt he is hit in the right shoulder.

In the next scene where Sara is treating him she is treating his left shoulder.

**REVIEW HAS BEEN REVISED**I originally gave this movie a pretty high rating, but I have since revised it.What we have here is a movie with a great idea and, for the most part, fantastic execution.

The second time travel related movie in two days (see 'Primer'), and I have to be honest, I preferred this one a fair bit more. Yes, it's a lot longer and has a bigger budget, but these weren't the things that made me prefer it.

Rian Johnson (The Brothers Bloom, Brick) is the writer and director of this sci-fi film. Like his other projects, this has original if slightly off-kilter thinking in its story.

Plenty of reviews here go into detail on this movie but I thought I'd add my two cents.Before seeing this movie, I saw the plot summary listed by the Media Center TV listings and thought it a pretty lame idea.

Lopper start and sets around 2045 (something on screen make me believe it to be 90's with few of a machines and gadgets to be from future) were people from 2075 have appointed the people called loppers for the disposal of the bodies for someone they want to kill, as in 2075 it will be nearly impossible to dispose any from the government. Director Rian Johnson make us think the time is already altered by the peoples from the future, travelling back.

Enjoyable SF effort from emerging auteur Rian Johnson, writer and director of the excellent 'Brick' and the very good (but not excellent) 'Brothers Bloom', 'Looper' is a challenging time-travel yarn, which finds Joseph Gordon-Levitt trying to unpick the tangled plot strands that run through what is a stylish future thriller. The make-up work to alter JGL and make him more Willis-like is remarkably good, and there's a functional matter-of-factness about the technology of the future that makes it easy to accept, a believable near(ish)-future, and the whole thing looks wonderful thanks to DP Steve Yedlin.

I was looking forward to this film. It looked like an interesting story.

When I first heard of Looper it sounded very promising. It had Bruce Willis, the story seemed interesting, and the critics liked it.

Killing children in movies for the shock value like this is unforgivable. In this movie it actually adds nothing to the plot or to the movie as a whole.