Super 8

It’s 1979 in small-town America and Joe Lamb and his motley collection of friends are utilizing some cutting-edge technology to create their very own horror movie. Armed with a super-eight camera, some cherry bombs and a make-up case, their amateur zombie flick lacks only one thing – production value.

When a spectacular train wreck occurs in the background of their big love scene, the gang is quick to incorporate the footage into their movie. But when strange disappearances and damage to property begin to occur the Air Force assume command of the town and conspiracy theories begin to circulate. What is going on? And what did the kids capture on video?

Ultimately, Super 8 is something of a let down. The hope was that it would be the summer blockbuster which managed to charm audiences disenchanted with franchises and superheroes - but ultimately it fails to do so. That the early stages are thoroughly charming just makes the ultimate failure of the film even more disheartening.

When the movie concentrates of the motley collection of wannabe filmmakers it really shines. There’s genuine warmth to the characterization and portrayals of the kids which recalls classic buddy movies like Stand By Me and The Goonies. The gang bicker and banter convincingly and the acting is pitch perfect – particularly from Riley Griffiths as visionary director Charles and Joel Courtney and Elle Fanning as the youthful romantic leads, Joe and Alice.

There are some truly tender moments between the young couple and both look set for massive Hollywood careers. But their thunder is stolen by belligerent but vulnerable Charles, a character whose relentless drive and commitment is surely an autobiographical reflection of writer/director JJ Abrams.

Sadly, further parallels can be drawn between the kids’ attempts at creating their home movie and Spielberg and Abram’s big-budget epic: both work better when they’re not relying on big budget special effects. The charm of the gang’s film lies in its wonky production values, dreadful script and homemade special effects (and the full short can be seen as the end credits roll). Similarly, Abrams’ movie is at its most engaging when it concentrates on character, the power of suggestion and the slow building of tension. Once the element of mystery is revealed the film falls into implausibility and an over-reliance on computer-generated effects.

It’s a shame that a tightly crafted and well-made film falls apart so spectacularly. Even some of the human drama which was so carefully created is half-heartedly resolved – perhaps Abrams thought that the sight of a huge alien would trump what came before. He was sorely mistaken.