'Super 8' may actually live up to the hype

By Sarah Sluis

Since its teaser trailer first hit in May of last year, Super 8 has been high on the anticipation list for movie bloggers like myself. Last night, Paramount hosted a preview of twenty-odd minutes of Super 8 footage at the Walter Reade Theater in New York City. Paramount CEO Brad Grey gave an enthusiastic introduction for J.J. Abrams, the writer/director, identifying him as an important member of the talent stable the studio has assembled.

Set in 1979, Super 8 has a pleasant, nostalgic feel. Hallmarks of Steven Spielberg (who teamed with Abrams as a producer and collaborator) abound, but when I spoke to Abrams afterwards he said he wasn't trying to create a homage or imitation, but a "recreation" of how he felt as a kid and the movies that were important to him. In fact, Abrams was thirteen in 1979, right around the age of the group of kids in his film. What I liked most about the preview footage was how Abrams creates a world that feels very familiar, from a cinematic perspective, without being derivative. His characters feel real and sweet, and Elle Fanning (who I took a liking to in Somewhere) is a standout.

The footage fills in some of the gaps created by the trailer. (Spoiler alert). The first scene we saw, about twelve minutes into the movie, sets up the night of the film's momentous train crash. Fanning steals her Dad's car and agrees to star in the kids' amateur monster movie. First-time actor Joel Courtney is the son of the sheriff whose mother just died in a mill accident. He's the group's makeup artist and harbors a huge crush on Fanning. As they're filming a scene at the train station, Joel witnesses a pickup truck drive into an oncoming freight train, derailing it and unleashing the unseen monster. The kids escape with nothing more than sooty faces and scratches. White Rubik's cube-like things spill out from the wreckage, and Joel leaves with one. The crashing part of the scene went on a little too long, and Abrams confirmed that the scene will be cut shorter.

The second scene, later on in the movie, confirms Abrams as a master movie-maker. When it comes to monster encounters, this man knows what he's doing. The concealment and suspense come not from cutting away (though there's some of that), but some really satisfying auditory wizardry. A sheriff drives into a gas station to fill up, but has trouble getting the attention of the zit-faced gas station attendant, who has the volume up on his new-fangled Walkman. When he goes back outside, his lights and radio turn on and start flashing. The gas meter, which has been steadily clicking out the dollars and cents, goes progressively faster and faster, turning into one long tone by the climax. The Walkman boy can't hear any of it, so his eventual realization has a satisfying punch to it. Without the use of the Walkman and the gas station meter, this scene would be completely run-of-the-mill. This kind of sleight-of-hand suspense replaces the usual: gory play-by-plays or exhausting flagellation of a character by a monster. We even get a peek at the monster in a reflection from pooling gas, but I won't say what I see.

I'll make a reckless, premature guess: Super 8 will be the Inception of summer 2011. The June 10th release will probably have a PG-13 rating, making it a teen and family-friendly outing. There are also (gasp) characters. This monster feels like a means for a small town to band together and a group of friends to grow closer and grow up. There's also a strong undercurrent of innocence. The trailer shows more cars flashing their headlights, and one of the first signs that something is amiss are the town's missing pets. Missing pets! You can't get more small town than that. The tinkling, chiming score brings to mind vintage John Williams scores for Spielberg. There's also an interesting theme running through the movie that will feel familiar to fans of Jaws, Close Encounters of the Third Kind and E.T.: That of a small town and its authority being overrun by outsiders (be they media or military) after something terrible is unleashed there. Super 8 may be the nostalgic, just-scary-enough monster movie that takes place in the small town we all wish we lived in and could protect.

Movies to look forward to: 'Never Let Me Go' & 'Somewhere'

By Sarah Sluis

Focus and Fox Searchlight, those dependable distributors of specialty fare, recently released trailers for Somewhere (trailer) and Never Let Me Go (trailer). Both of the trailers are moody and exciting and fabulous, and I can only hope the movies match up to the previews.

Never Let Me Go (Fox Searchlight) stars Keira Knightley, Carey Mulligan, and Andrew Garfield (The

Imaginarium of Dr. Parnassus) as '70s boarding school students with an unusual purpose. In a kind of parallel Britain, they are clones that are educated and then donate four organs before "completing." The movie is based on an acclaimed book (that I couldn't get through) by Kazuo Ishiguro, who was born in Nagasaki a decade after the A-bomb went off (read a great review of the book here).

What sets this world apart from other dystopias is the characters' belief in the system. They don't question what they've been instructed to do, even though they want to live longer than they've been told they will. In the trailer, they seem to be under the impression that if they find true love, they will be given a few more years to live. It's been said that the British love to form a queue, and this adherence to the rules even when the audience clearly sees evidence to the contrary is maddening, creepy, and sad. The director, Mark Romanek, last directed the dark movie One Hour Photo. The trailer offers a first look at the cinematography and costuming in the film. It's odd to see a futuristic movie set in '70s Britian, and the hairstyles sported by Knightley and Mulligan are priceless--who knows, maybe they'll even inspire a trend. The movie will be out October 1st.

The trailer for director Sofia Coppola's Somewhere (Focus) follows the formula of her trailer for Marie

Antoinette--great indie music, decadent locales, and people walking down halls while crazy things are happening. Coppola's movies make really good trailers, but they don't always match

up to the preview highlights. I still remember the excited feeling I got watching

the trailer for her Marie Antoinette (with the great New Order

song "Blue Monday"), but the movie didn't have the same effect on me.

This trailer starts out with music by Phoenix before shifting to the lower-key song "I'll Try Anything Once" by The Strokes. Elle Fanning looks great in the role of a movie star's abandoned daughter, enough to quiet my thoughts of sibling nepotism (she's the younger sister of Dakota). The movie star is played by Stephen Dorff, who has two decades of movie credits without a role that I remember him in. It's great casting--a suitable blank face with movie star looks, and not someone that the audience would have any recollection of from the tabloids. Coppola has been criticized for her lonely-people-in-glamorous-locales theme, but who cares? Audiences like seeing what it's like from a higher perch. The trailer also reveals her fantastic eye for details and looks. She can tell so much by showing father and daughter getting into a car together wearing matching sunglasses, or playing the swimming pool game tea party. Likely pursuing an awards campaign, Fox Searchlight has the movie aimed for a December 22nd release.