Super 8
J. J. Abrams is quickly establishing himself as a big name director and filmmaker. His Super 8, produced by Steven Spielberg, has all the right touches of storytelling and grandeur that make American movies so interesting and expansive. It is a well-woven tale of youthful excitement, drawing memories of some of Spielberg’s finest moments while establishing something fresh and new.
Indeed, Abrams uses many of the signatures of early Spielbergian cinema in many shots of Super 8. He weaves his tale of science fiction and danger through the eyes of a group of young teenagers, showing us the world of the mysterious from the perspective of those without all the information but with all of the requisite curiosity. Because the teens want to see and know more, we want to see and know more.
The film opens in the fictional Ohio town of Lillian. The year is 1979 and Joe Lamb (Joel Courtney) is 14. His mother has just died in a factory accident. Despite being troubled by it, Joe spends time with his friends, including Charles (Riley Griffiths). They are making a zombie movie on Super 8 film. While filming one night, the gang witnesses a massive train derailment.
Something breaks out of one of the train cars and strange events begin to take place, such as the disappearance of kitchen appliances, power lines and even car engines. Dogs are running away, too. The Air Force investigates the train crash and rumours begin to circulating that an alien was in the train. As things start to get even weirder, Joe and his friends get closer and closer to the truth.
Super 8 has a great “small town” feel to it, which helps us sink our teeth into the characters. Because of the set-up and the relationships between characters, like the contentious relationship between Joe’s dad (Kyle Chandler) and the man (Ron Eldard) he blames for his wife’s death, we get involved on a deeper level.
There’s also the matter of the zombie movie the youngsters are making. This is used as a way in to the magic of the unreal, feeding the young characters the natural curiosity they need to not simply run from the presence. They want to find out more and so do we. There’s a lot of fun in figuring out the details, in trying to determine what was in that train and how it got there and where it came from and what it wants.
While the movie does indeed show us all of what the town of Lillian has been up against, it doesn’t do so for a while. And when the “reveal” happens, it happens with enough obscurity that it’s never blatant. The special effects, while good, are rarely dominant. The movie maintains a good pace because Abrams values suspense and storytelling more than flashiness.
Super 8 isn’t perfect and there are some weaknesses. One such blemish is how predictable the movie can be. We can sense certain things coming from a mile away. And certain resolutions come all too easy. The adult characters seem to check their prejudices at the door with remarkable ease just because the plot requires it and that impedes the pragmatism of the characters somewhat.
Overall, though, this is a very good chunk of science fiction fun. Super 8 is a big blockbuster, but it is one told with affection and a grand sense of wonder. It isn’t a noisy, obnoxious picture like so many summer movies can be and that, in this day and age, is worth an awful lot.
