Looper

Casually steeping the intertextual typography for a poppy paranoid streetwise technovernacular, real horrorshowlike, frenetically interspersing euphoric and trepidatious tremors, bumptiously, offhandedly, and rupturously stimulating abbreviations, while synthesizing an intertemporal suicidal personalized universal, Rian Johnson's Looper ruggedly relies on standard fictionally scientific reflexivities, without deflating their zeppelinesque thermocline, to romanticize a gritty, graphic, gregarious shock, while autosuggesting, an intransitive perpetuity.

As the crow flies.

One loop sees a job well done, followed by a carefree binge, a requisite regression, and vindication through love.

In the other, to sustain and avenge said vindication, a monstrous methodology metastasizes.

Either way the outcome is inevitable.

But a third way does present itself, nurtured by a split-second revelation based upon the prior knowledge of a definitive causeway the agency of which is too much to precondition.

So, rather than embracing what seems like predetermination, the agent spontaneously disorients his 'historical' trek.

Stretching through the void.