Like E.T., and also fellow 80s classic Stand By Me, Super 8 is a story of childhood, in which precocious young actors are the stars, but, also like them, it is not a 'kids save the world' movie. Rather, it is about a group of friends thrust into an unfamiliar situation, and who deal with it as best they can. Such a movie relies hugely upon its young performers; fortunately, in Super 8 they shine. Their naturalism and ease in front of the camera is a testament to their individual talent, a brilliant casting job, and superb direction from Abrams. A mark of many of the best directors is how well they coax convincing performances from children; in that respect Abrams excels. What's more, each of these kids feels human and fully developed - sure, they do slot into broad types (the chubby one, the geek, etc.) but they feel like friends you could have had in high school. Their behaviour and interplay comes across as entirely authentic, spontaneous and often hilarious. It's a mark of the sheer entertainment value of these scenes that the science fiction stuff almost feels like a sideshow.
That's not to say that Abrams drops the ball when it comes to the thrills. Not a bit of it. Super 8 is as tight and intense an experience as you could hope for, propelled by pitch perfect pacing and numerous moments of great suspense. The plot kicks off when our central band of boys (and girl), filming their own zombie movie, happen to get front row seats to a mammoth train crash. Naturally, it's not just any train crash - it's a US Air Force train, whose contents are a closely guarded, and now missing, secret. Cue the military invading the small town of Lillian, and some déjà vu for fans of Close Encounters. The crash itself is an absurdly extended cacophony of chaos, which sets the wheels of the plot into inexorable, gripping motion. The way Abrams drip-feeds the mysteries is reminiscent of Lost - the TV show he co-created - but this time, you don't have to wait six years for an answer that may not even be given. Here, the script is honed and polished enough that every element has a payoff and a reason for existing, making the resolution all the more satisfying.
The heart of the film lies with Joe (Joel Courtney) and Alice (Elle Fanning). At the beginning of the film, Joe has just lost his mother; his subsequent difficulties with his lone parent father (Kyle Chandler, receiving deserved exposure) form an emotional backbone to his arc. Alice is the outsider of the group, invited into the boys' inner circle by their need to have a leading lady in their homemade film. She's slightly older and wiser than them, so the casting of the experienced Fanning is ideal. Her story too is tremendously moving, reaching a tearful, beautifully performed moment late on that may tug on the most sceptical heartstrings. Abrams proves an assured hand at balancing such emotional peaks with visceral action, his prowess in the latter already having been shown in his two previous features (Star Trek and Mission: Impossible III). Super 8 feels his most fully cinematic venture yet, the director relaxing his propensity for shaky, tight close-ups and having the confidence to pull back to wider shots with fewer cuts when called for.
If there's a misstep, it's in the alien itself: a malformed jumble of undiscernable body parts, once finally revealed. Its closest cousin is the Cloverfield monster (another Abrams producing gig). Basically, it's neither memorable or clear in its design, the director having apparently prioritised anatomical originality over anything relatable. Thankfully, the creature is not lingered on much, never even quite receiving a clear wide shot, so it doesn't prove to be damaging, and it's more of a plot catalyst than an integral component. This is a film driven by a childlike sense of wonder and lack of cynicism - traits all too rare in both films and reality these days - and demonstrates the inspiring potential of the blockbuster, reaching back to the days when it was not a dirty word.
Release Information
Country: UK / Region: Free / Version: Triple Play / Discs: 1 BD, 1 DVD / Distributor: Paramount
Presentation
The transfer is lush, filmlike and entirely satisfying. It perhaps doesn't pop with a 'wow' factor that some Blu-rays do, but that's probably down to the more naturalistic 1970s look that Abrams goes for (albeit with added lens flares, naturally). The audio is Dolby TrueHD 7.1 - Paramount adopting Dolby over DTS - and is actually surprisingly restrained most of the time. The exception is, of course, the apocalyptically loud train crash sequence, which overflows with phenomenal directional activity. You almost want to duck as you hear wreckage landing all around. The drawback is, given the relative restraint of the rest of the track, this sequence seems inordinately deafening.
Extras
A really good, thorough selection of supplements is all packed into one crowded disc. The group commentary is really excellent, informative and enjoyable. Abrams even phones up Steven Spielberg at one point, trying to get around the latter's avoidance of commentaries. The fourteen deleted scenes are worth a watch; none are revelatory but some that add more of the kids' interactions would be welcome in an extended cut. A series of featurettes add up to a comprehensive 90 minute Making Of; particularly interesting is the history of the town in which the film is shot (the movie's Lillian is fictional) and the focus on the in-demand Michael Giacchino's score. The only disappointing extra is the anatomy of the train crash, which uses a cumbersome, sluggish interface to tell you not very much.
Summary
One of the best Summer blockbusters in many a moon, Super 8 is a home run for J.J. Abrams, his gifted cast, and all involved. It has been underrated by many in my estimation, and deserves to be discovered on this fine Blu-ray release.
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