It’s practically tradition among geeks at this point to bemoan the lack of recognition for genre movie come Oscar season each year. Even within the screenplay categories, which often give recognition some of the year’s more offbeat offerings, sci-fi films rarely seem to make the cut. And Jason Reitman thinks that’s just not fair.

In a new essay, Reitman makes the case for giving writer-director Rian Johnson (his archnemesis) a Best Original Screenplay nod for Looper. Read it after the jump.

A four-time Oscar nominee for Juno (directing) and Up in the Air (directing, adapted screenplay, and picture), Reitman should know a thing or two about awards-worthy work. His thoughtful essay is just one of a series at EW, which asked folks with “Oscar histories” to talk about their favorites of the year.

Here’s a fun fact… you know what Alien, Blade Runner, Close Encounters and The Matrix have in common? I mean, outside of being timeless groundbreaking movies that changed the way we watch cinema. None of these films were acknowledged for their screenplays — which makes me wonder, is it just because they have flying cars and hyperbaric sleep chambers and creatures with acid in their blood? Perhaps we’re so thoroughly engrossed that we dismiss how these films triumph in their examination of complicated ideas. Or maybe, as writers, we have some sort of prejudice against futuristic costume and production design.

If you break it down, at the center of these great science fiction movies are traditional writerly themes: mid-life crisis, motherhood, gender equality, and the fragility of human experience. Alien asked ground breaking questions about eco-politics and female empowerment. The Matrix delved deeper into the concept of perception versus reality than perhaps any other film I know. But for some reason, we tend not to remember the significance of their writing.

Looper isn’t a film about time travel. It isn’t a film about telekinetic powers. It isn’t about flying motorcycles or eye drop hallucinogens. It uses these concepts as well as any science fiction film I’ve seen, but it also knows the difference between a prop and a story. Time travel is a prop. Looper is about what your 55-year-old self would tell your 25-year-old self over a cup of coffee. It’s about finding love in the third act of your life. It’s about overcoming trauma and the idea of true sacrifice.

Looper is so deftly told that it’s easy to forget how difficult the maneuvers are that Rian Johnson is pulling off with grace and sophistication. His screenplay employs unparalleled structural fluidity, complicated and moving visions of the future, and a language of its own invention that is somehow foreign and yet just in our grasp. It’s size and ambition slip by the eyes and ears so stealthily and by the way … it’s an independently made film! Never has it been more important to consider the unique routes innovative stories take as they navigate their way to the big screen. One can only imagine what might have happened to Johnson’s screenplay had it been forced to pass through more hands.

There’s an unfortunate probability that the most original of the original screenplays this year has a chance of being overlooked. Rian Johnson’s Looper is inventive, entertaining, and thought-provoking in every way a movie can be. It is in fact the kind of movie that reminds us why we watch them and make them. A beautifully told story that deserves to be not only remembered, but acknowledged for its writing.

Reitman certainly isn’t Looper‘s only champion. Johnson’s already picked up Best Original Screenplay prize from the Las Vegas Film Critics Society, the Washington DC Area Film Critics Association, and the National Board of Review, and he’s been nominated by the Broadcast Film Critics Association.

The argument that Oscar tends to overlook sci-fi rings true, but a few films do break through from time to time – Inception and District 9 have both picked up screenplay nominations in recent years. Time will tell whether Looper will be one of those when the Academy announces its nominations on January 10.

For more “Consider This” essays, including Alfre Woodard’s on Middle of Nowhere, James Franco’s on The Perks of Being a Wallflower, and Reese Witherspoon’s on The Impossible, head to EW.

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