The idea and inherent concept of going into a mainstream film blindly, having seen little to no footage from the film and only having an idea of what it may or may not be about, is next to impossible with how film news is covered on the internet. Leaked plot details, viral marketing, photos, trailers, reviews – almost anything you can think of gets released well in advance of films being released that rarely is anything ever a surprise for the majority of people who watch films on a regular basis. It tends to only work with a self-imposed ban on some or all material, and even then you need to have some sort of knowledge or insight as to what the film looks like in order to ensure you miss any trailers in the theatre or on television. I had incredible luck pulling this off with the genre-bending masterpiece District 9 a few years back to great effect, and found that I enjoyed the film so much more because I had only the briefest of ideas as to where the film was heading at any one time (also because that was the kind of film that was).

And so I tried this technique again with Super 8, J.J. Abrams’ latest and once again mysterious film, and somehow managed to pull it off again (not for lack of just about everything working against me). It was one of the few films that I was immensely hyped for this summer, and when I fell into the chance to see the film in advance a few weeks ago, I did not second guess my desire to see the film as soon as I could.

Taking place in the summer of 1979, Joe Lamb (Joel Courtney) is part of an atypical group of friends making a film to enter into a local film festival. While shooting on a train platform late one night, the group witnesses a horrific train crash. They survive the mysterious crash, and do not think much of it. But then strange things begin happening in the town, and the US military suddenly shows up to clean up the damage, not to mention some bizarre things are being recovered from the crash.

I already feel like I have said too much regarding the plot of Super 8, but my enthusiasm for this ridiculously well done film is too hard to contain. Abrams, alongside producer and obvious inspiration Steven Spielberg, has crafted something both special and truly extraordinary. What is on the outside a very keenly and nostalgically made film about the loss of innocence and the wonder of personal discovery, is also a period picture examining a time when the slightest enigmatic occurrence could lead to an accusation of Soviet invasion. Many will instantly equate the film to the early work of Spielberg himself (not only because of the various homages to it), but this is a film that was never meant to draw such easy comparisons.

The period setting (which is becoming an all too common theme amongst this year’s crop of new films) was one of my initial concerns going into the film, but one that was instantly quashed. The film is lovingly made and manages to feel very in tune with the time period. The saturation of the picture and color scheme are right in place with all of the films you remember from that bygone era, as is the marvelous soundtrack of 70’s hits. Abrams knows his setting well, and allows it to stand on its own as simply beautiful, even at its most destructive.

With Super 8, Abrams has matured into a great filmmaker who is very quickly on their way to becoming a master of the craft. He tenderly embraces the format of a monster movie and the hard lessons behind growing up (not unlike Joe Cornish’s significantly grittier Attack the Block, which this film has already drawn comparisons to), and never lets either get too far ahead of itself. While it can be thrilling and fused with electric intensity, it can also be very tender and moving. We know the focus is on these adorable, wide-eyed kids, but Abrams invests enough time into the adult characters like Kyle Chandler’s Deputy Jackson Lamb and Louis Dainard, played by the obscenely underrated Ron Eldard as well. By doing this, he allows the audience to follow in the wonder of the children’s vague cluelessness of the hell that is going on around them, and the adults trying to unravel the mystery. He also lets the script speak for itself, directing the increasing action brilliantly and allowing the actors to truly become the characters they are playing. These are no simple one-dimensional cut-outs. I just hope he quickly realizes his stylish use of lens flare is beginning to border a little too close to overbearing.

Acting wise, the film fires on all cylinders. Chandler and Eldard are excellent in their fatherly roles, as is Noah Emmerich’s absolutely despicable Nelec. But the show is completely stolen far and away by the children. This is really their movie, and they shine in each of their scenes. Casting relative unknowns in the majority of these roles, not least Courtney in the lead, helps give an enhanced sense of authenticity and fascination. The looks of fear, confusion, sadness and fun are real in the most flattering way possible. There is not one instance where any of these kids look like they are acting against a green-screen, or acting on a set. They make their performances stand out and make them more believable than I ever would have imagined. They act like seasoned veterans in most cases, and will surprise you consistently from the opening frame right until the end of the credits. Special mention also goes to Elle Fanning, who is rapidly proving to be a formidable talent who might be even stronger than her famous sister Dakota.

While I will try and not give away too many specific details, I can say that the special effects should already be considered an early front runner for the best of the year. The train crash sequence involves some of the most incredibly and intensely depicted images of destruction I have ever seen. You will be on the edge of your seat for the entire scene, unable to look away from just how amazingly realistic it all looks, and how unbelievably awesome it looks with the kids acting around it. I had previously watched X-Men: First Class a few hours before seeing this film, and it had some of the most disappointing visuals I have seen from a blockbuster in quite some time. With Super 8, the visual effects are taken to the extreme, and look absolutely astounding every time they are employed (which is surprisingly not as often as I thought they would be). Without ruining anything else, I can safely say you will be both terrified and awestruck by just how much effort was put into making these effects look so realistic.

If I hold anything against the film, it is the finale. The film is brilliantly paced and the tone is never taken for granted, but it just comes off a bit odd when compared to the rest of the film. It is not as disappointing as some may have you believe, but it was a bit too soft and cuddly for my liking – a little bit too close to what Spielberg would have done. We know the film is a nostalgic homage to those films that so many of us remember watching on weekends as kids, but the ending just does not jive as well as it could have. It feels like Abrams just did not want to commit to anything darker, and just went with the safest route he could think of. It will still likely leave you with the same sense of wonder the rest of the film does, but not anywhere near as intense or brilliantly depicted as it could have.

If you are still reading this review and the opportunity to see Super 8 is available, than you have made a big mistake. With only his third film, Abrams has made a truly spectacular must-see film that demands to be seen as quickly as possible. Allowing some of the surprises to be spoiled is simply not an option. This is the best film of the summer thus far, and will be remembered well into the end of the year. Harry Potter, if you did not already have enough riding on you, you now have some big shoes to fill as the contender for best film of the summer.

   -- David Baldwin