Super 8 is sublime in many ways. It has the look and feel of E.T.: The Extra-Terrestrial, with lots of little homages to other early Spielberg films and to film-making itself. But rather than feeling derivative, it is fresh and fun. A little of the magic diminishes in the third act when the action kicks into overdrive, but the film remains compelling and highly entertaining throughout.
It’s the early 80s and Joe Lamb (newcomer Joel Courtney) is a kid whose mom has died in an industrial accident. Months later, his father, a local sheriff’s deputy, is still having trouble dealing with it, making Joe’s home-life less than ideal. He and some other friends are helping his pushy but driven pal Charles (Riley Griffiths) make a zombie movie on super 8mm film (Joe is doing makeup, and one of the kids is even a pyro guy). Charles gets Alice Dainard (Elle Fanning), the daughter of a man Joe’s father has a grudge against, to agree to a role. While filming a nighttime scene at an old rail station next to the tracks, they witness a massive train derailment. But the train wasn’t carrying your typical cargo.
Most of the story is from the POV of the youngsters as they run around town trying to put the pieces of the mystery together. Occasionally their antics dip into Goonies territory, but they make up the emotional core of the film and their characters are solid and believable. I wouldn’t have known from Courtney’s performance that this was his first movie. And Fanning is particularly impressive as the slightly older first-love interest of Joe (there’s even an amusing moment referencing her character’s acting ability). Most of all, I was very happy to see preteens acting like people their age really would: swearing, insulting each other, driving too early, playing with fire. Childhood activity that often gets left out of movies for PC reasons (one of several ways this movie hearkens back to E.T.). The adults are given things to do, as well, but some of the emotional moments between the grown-ups seem a little forced, and the kids’ stories have more true to life emotional resonance.
Th
e attention to period detail is amazing. At least on first viewing, I didn’t see or hear anything that couldn’t have existed in 1980 or thereabouts. The clothing, the hair styles, the cars, the late 70s soundtrack music, and all of the various hardware and toys lying around the houses and the kids’ rooms were perfect (and speaking of homages, I’m pretty sure the camera panned by the Jaws soundtrack at one point – on vinyl, of course). It makes me want to watch again just to stare at all the background details to see what other nostalgic treasures lie buried in the scenery. I suppose that’s what the DVD and the pause button on the remote are for. Some of the references seem a bit contrived, to drive home the time period no doubt (the mention of the Rubik’s Cube, and a couple of the tunes loudly played and replayed), but those moments are brief. I did immediately notice the absence of a John Williams score. The music is fine, but not up to Jaws or E.T. level. It probably wouldn’t have even occurred to me had the movie not recalled the styles of those films so well.
T
he movie also diverges from its earlier influences in intensity. Like many of its modern counterparts, the action never lets up and there are lots of explosions. And I had some misgivings involving the manner of the big reveal (there was some too convenient exposition). But this, again, is brief, and thankfully J.J. Abrams took a lesson from the Jaws playbook and doesn’t show too much too soon. The CG is up to modern standards, for sure, but special effects aren’t thrown in your face for no reason, and the whole movie remains about the characters no matter what is going on.
Super 8 is a stylish ode to a bygone era of film-making, with lots of humor and a thrilling story. I’m positive it will bear repeat viewings, and it should be seen on the big screen. And be sure not to bolt out of the theater when the credits start to roll, or you will miss an extra treat.
[Rating:9/10]
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