David O'ConnellSuper 8
June 14th 2011 05:57
J.J. Abrams’s nostalgic monster movie takes us back to 1979 and the fictional town of Lillian, Ohio. It’s here that a raucous bunch of kids, led by wannabe director Charles (Riley Griffiths) inadvertently stumble onto an atmospheric late night set straight out of their wildest imaginings. Upon a train station platform they prop the apparatus required to capture the emotional essence of Charles’ zombie movie when our bereaved hero, and the ensemble's make-up expert, Joe Lamb (Joel Courtney), spies a truck driving directly into the path of an incoming train.
The resulting explosions have them diving for cover but the truck’s driver, an old teacher, is miraculously alive, mumbling dire warnings to flee and keep their mouths shut. The train’s unknown cargo includes a power-sucking menace whose origins date back to past battles with the military who quickly invade the town, intent on covering up the true nature of their presence.
Beyond the train station setpiece, Abrams cranks up the suspense through isolated scenes in which the partially glimpsed creature is sent out to stalk the community. Randomly picked off, the unlucky victims are secreted in the monster’s underground lair, in what later proves to be homage of sorts to Alien (1979).
Drawing upon so many films of its era, but especially E.T (1982) and The Goonies (1985) in equal measure, Super 8 is slick, easily consumed entertainment with enough magnetism to keep viewers of all ages glued to the action as it ratchets along. The young actors are all superb, especially Courtney and Elle Fanning as the lone female member of the boy's club who shares a troubling connection to Joe through his late mother.
Abrams’s screenplay mostly sidesteps the curse of derailing, ham-fisted dialogue. Indeed many of the scenes, particularly those in the establishing scenes and those dealing with the romantic subplot, are beautifully handled. They're often weighted with a perfect ear for the possibly annoying but realistic banter that typifies teenage conversations, at an age when they're dogged by innocence yet bursting with a curiosity about the world and the unknowable secrets it holds.
Super 8 (2011) is certainly not without its shortcomings, especially moments that require a sustained suspension of disbelief; perhaps the whole things drags on a shade too long as well, whilst the monster’s motivations and back-story could have done with further clarification. But otherwise this is spirited commercial storytelling lovingly shaped through the flickering glint of a nostalgic eye. With producer Steven Spielberg leaning over his shoulder, Abrams was on a hiding to nothing, and falter he doesn’t for the most part. Investing his story with soul and armed with a slew of reliable collaborators - including composer Michael Giacchino whose final emotional epic of a cue caps an impressively strident musical accompaniment - Abrams has effectively revived the childhoods of many, even if by stealing an idea or two from the masters.
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Comment by Tessandra
Comment by David O'Connell
20/20 Filmsight
Screen Fanatic
The train crash in Knowing is fantastic too.