A utopian vision of the future (that features very few non-whites) which begins incredibly strong with the eye-popping Carousel sequence but lags in its moody, contemplative second half.
The latter half's tone was indicative of 70s sci-fi films, which tended to paint a bleaker, harsher reality for the main players to face down. It's admirable that the film wishes to slow the pace down after a fairly breathless beginning involving numerous sequences of action, intrigue, and even forced erotic temptations, but a lengthy sequence with Oscar-winner Peter Ustinov drags on interminably and feels as though it was written as such in order to entice such a world-renowned actor to take part in a "silly little sci-fi movie."
The world-building is impressive, with scale models that are obviously phony but are so unique and lovingly-crafted that they work as part of the film's appeal.
The central romance between 'Sandman' Michael York and Jenny Agutter is adequate, but far more fascinating is York's relationship with his fellow 'Sandman' Richard Jordan. Theirs is a meaningful and tragic friendship that forms the core conflict of Logan's Run. The very human and very relatable plight of these two former friends keeps Logan's Run from becoming so much eye candy.
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