In the summer of 1979, a group of friends in a small Ohio town witness catastrophic train crash while making a super 8 movie and soon suspect that it was not an accident. Shortly after, unusual disappearances and inexplicable events begin to take place in town, and the local Deputy tries to uncover the truth – something more terrifying than any of them could have imagined. –Inbaseline
Jeffrey Jacob “J. J.” Abrams (born June 27, 1966) is an American film and television producer, screenwriter, director, actor, composer, and founder of Bad Robot Productions.
A prominent writer/producer of Hollywood features who later went on to make a name for himself as the creator of such popular small-screen hits as Felicity and Alias, J.J. Abrams has managed the rare feat of finding success in the all-too-often mutually exclusive worlds of both film and television. It was at the age of eight that the wide-eyed youth first discovered his love of film while on a Hollywood studio tour with his grandfather, and when the pair returned home, Abrams convinced his father to let him try his hand at filmmaking with the family’s Super-8 camera. During the following decade, the young auteur grew increasingly comfortable behind the camera, and he continued to turn out his impressive amateur films at an exhausting rate. Later attending New York’s Sarah Lawrence College… read more
Close Encounters + E.T. + The Goonies + Explorers + Signs + War of the Worlds ÷ Son of Rambow = J.J. at his derivative best. It survives on the strength of the child actors and Larry Fong's best efforts to mimic the style of Janusz Kaminski as if on a lens flare binge. Amusing enough, but not as strong as the movies it "samples."
Abrams becoming an apologist for his own use of lens flares is really disheartening. I thought the style was most fitting for Super 8 oddly enough. I value the movie as one that celebrates the imperfections of some great movies as the very thing that makes them special. The use of lens flares seems to underline that idea.
Also: A fresh round of essays at one of my own favorite sites of the year, The Chiseler.
And more year-end lists from New York and the Guardian. Plus: Sony vs the New Yorker.
No film this year opens more promisingly and ends more dismally than J.J. Abrams’ Super 8. Promising not only because the first shot
In the Margin is a column where Ignatiy Vishnevetsky tries to make sense of the what's going on in cinema lately. *** The best running
First, a quick reminder that entries on several films playing here or there have been updated through today: Film Socialisme, Agrarian Utopia
"With his Bud Cort haircut and morbid sensibility, Oliver Tate (Craig Roberts) is too smart for Swansea, Wales, an industrial city mired in
Se você cresceu nas décadas de 70 ou 80 e assistiu à filmes como “Goonies”, “E.T.” e “Jurassic Park” até decorar todas as falas, não deixe de ir ao cinema assistir “Super 8”, dirigido por J.J. Abrams… read review
A beautiful, nostalgic film capturing a more innocent style of filmmaking along with a more innocent view of adolescent adventure and romance than we generally see in movies now. And yet it also feels… read review
Allegedly, this film is a homage to some of the early Spielberg alien-flickes (first and foremost) E.T. and whatever Abrahams stole from Spielberg works and everything else does not, now what does… read review