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Super 8: The Super Combo Delivers Best of the Year

I’m fairly sure there is something more than lead in the water here.

Rating: 10 out of 10

One is a legend in the movie industry, the other is the current hot ticket with a winning streak not seen in a long, long time. Sometimes when teams like this are paired up, the expectations can be unbearable and completely fantastical, but J.J. Abrams and Steven Spielberg are not ones to break under the pressure of expectations. The stage was set perfectly for them and they delivered brilliantly with an homage to each other’s previous works and the simple storytelling styles of film classics gone by.

Super 8 surrounds a group of movie loving misfits who find their town the unwilling center of a government takeover after a terrible and deadly train accident. While filming their own Super 8 movie for a local festival, they bear witness to the escape of something unexplainable, setting up a quest the kids must all rise to complete or watch their friends, families and entire town get erased from the map.

Jeff Goldsmith, the Q&A master behind the popular podcast The Q&A with Jeff Goldsmith sent out this tweet after screening this new summer throwback:

“I just saw Super 8. Wanna know the guarded “secret” behind it? Abrams uses plenty of screen time to develop characters you’ll care about. (@yogoldsmith)”

As usual, Jeff nailed it on the head. Above and beyond all the other things that done right in the making of this film, it is the writing and careful execution of creating characters that are human, real and inherently lovable. Super 8 brings back the youthful purity of classics like E.T., The Goonies and Stand by Me, something the movie industry has been woefully lacking in the last few years. The story gently reels you in until you almost look at their story as your own, a memory being perfectly played out they way you wish it happened to you.

Then comes the picture perfect casting, where I was compelled instantly by the innocence of Joel Courtney (as Joe Lamb), who is the first young actor since Patrick Fugit in Almost Famous to truly capture that wide-eyed stare into the possible purity of the future. Another factor connecting the audience to Courtney was our shared need to care for and protect the young damsel in distress, Elle Fanning (playing Alice Dainard). Fanning is the epitome of the first girl we all fell in love with in elementary school  and she holds the audience in the palm of her hand throughout every scene. Not to be outdone, Riley Griffiths (playing Charles, the young film director), taps into the other side of the coin, the best friend who always wanted to be the hero, but never quite made it to center stage.

Behind the camera, Abrams and Spielberg may have just cemented themselves as the ultimate dynamic duo. Spielberg is still a legend in Hollywood and has incredibly well tuned story senses, but some of his recent efforts (Indiana Jones and the Kingdom of the Crystal Skull, War of the Worlds) have been slightly off from his previous greatness. Abrams, on the other hand, is still a relative newcomer to the big screen (only directing Mission Impossible III and Star Trek), but has proven himself a near master of the current form, grown on the sensibilities of a changing and ever adapting crowd. Abrams took this story and crafted it into a beautiful homage to the man sitting right next to him. Super 8 is a throwback to Spielberg’s younger days, giving a whole new generation of movie watchers a glimpse into what others grew up with in the late 70′s and early 80′s. The balance of character development, action sequences and well-paced comedy beats really gives this film a perfect blend for nearly every audience member.

The End of the Page recommendation: Super 8 is a perfectly crafted summer blockbuster. It just doesn’t get better, at least not this year.

Twilight – New Moon: New Director, Same Failures

Yes, this is the only facial expression I have. Why do you ask?

Rating: 2 out of 10

At the screaming and preening delight of tweens across the nation, the second installment of the uber-popular Twilight franchise hit the screens at midnight Thursday and proceeded to break numerous first-day records. Leaving Dark Knight in the dust, New Moon separated tween parents from the money in their wallets at a rate of $72 million dollars in the first 24 hours. It slipped a little bit in the weekend total and five-day gross, so in the end Dark Knight and a few other choice films still rank higher, but Summit Entertainment and Twilight fans alike know their precious franchise is very much alive and cemented in cinema futures for the next few years.

For those who might not already know, New Moon takes the love story between Edward and Bella and drops in the ever-so-popular third wheel, Jacob. Edward bails from the gray and rainy world of Forks because he believes he will only end up hurting Bella more and in his absence Jacob grows to be more than just the nice kid form the reservation. She allows him to drag her up from the depression Edward left her in and finds herself caught even more now in the middle of not just a battle for the hearts of two men, but two monsters as Jacob reveals he too is more than meets the eye.

Let me just tell you all up front that after seeing the first Twilight film and finding it to be fairly abysmal, I borrowed all four books from a co-worker and read them over the period of a week. My reason for doing this was I wanted to know if all the blame for the movie’s faults could be laid upon the shoulders of Catherine Hardwicke and her newly famous cast, but I came to realize that not all of it was hers to bear. That shared responsibility continues in this new chapter as the reins got taken over by Chris Weitz, who last graced the screen helming the CGI-cluster bomb The Golden Compass (another example of shared blame between director and source material). So to be fair, the volume of issues there are in this film are not with the movie alone, but with the source material it is born from.

My main and most pounding issue with New Moon is the length. There is no reason for nearly two-and-a-half hours of this. If you cut out even half of the strained dramatic pauses in every piece of dialogue, this could possibly make the cut as a one-hour TV special. Not a single person in the film seems to be able to finish a sentence without stopping and staring at something or someone, forcing unnecessary importance on what they are about to say next. Again, this is inherent in the books, although in that medium, you as the reader can just choose to read faster (which admittedly, these are incredibly fast reads). In the darkness of the movie theater you are trapped, glued by the increasing price of the movie ticket you bought to get in, to stay there and suffer through page after page of visual ellipses.

Secondly, when I was finished with the books I actually had hope for this movie because I felt it was the most enjoyable of the books. The relationship that grows between Bella and Jacob is actually the only relationship in the entire series that you get to witness blossom and actually believe in. Bella and Edward seem to fall hopelessly and endlessly in love with each other from first glance and they spend the next two-thousand pages trying to prove it to each other, but as a reader and audience member we don’t get to really witness that journey. It all feels too heavy without any foundation. Unfortunately, after only one pleasing montage of Bella and Jacob, the super-buff best friend spends the rest of the movie taking on every boring and melodramatic trait of his vampire nemesis. Long stares, brooding glances into the distance, gruff sighs between each and every word. Be still my beating…oh wait, it is still, aw crap, this movie put me in a coma.

Lastly, without dragging this out too long, New Moon actually increases one of the main problems from the first chapter; Bella is not a likable character, not in the least. Without being able to root for her, we can’t honestly route for either of the pseudo-men fighting for her affections. She mopes, whines and is overall gloomy from front to back in this film and she gives you nothing to attach to in order to want her to be happy.

In terms of the acting, it’s patently unfair to critique these people on performances largely hobbled by the books themselves. Kristen Stewart, Robert Pattinson and Taylor Lautner are all suffering from what I politely refer to as “The Star Wars Prequel Phenomenon.” After those movies, hordes of people walked around tearing apart Natalie Portman, Hayden Christensen, Ewen McGregor and Liam Neeson, but true movie fans knew all along that their horrid performances were not accurate representations of their actual ability. It’s just what happens when talented people are stuck in untalented movies. Kristen was redeeming in Adventureland, Robert got amazing reviews for Little Ashes and Taylor, well, he might not have a ton to his credit yet, but he’s the only one who actually seems to have the ability to shine at all in this franchise, so I expect big things from him once the caskets are finally snapped shut here. Even the addition of an acting prodigy like Dakota Fanning didn’t raise the bar even an inch (although to be fair, she gets approximately four minutes of screen time in this chapter; she’ll be much more featured in the ones to come). The reality of the situation is hidden just beneath the surface during a particular scene where Bella and Edward are in class together and everyone is watching Romeo and Juliet. This is high school melodrama, this is uber-heightened puppy love built up beyond all possible boundaries and while that works for classic stories like Romeo and Juliet, New Moon and it’s associated books fail completely to even dip their sparkly-toed feet into such hallowed waters.

The End of the Page Recommendation: Obviously Twilight fanatics don’t need to read a review to figure out whether or not to see this, but for the rest of the reading audience, if you haven’t read the books, this is not going to bring you anything but confusion as to why it’s making such ridiculous money.