tinribs27
Posts: 11
Joined: 30/7/2011 From: Wellington, New Zealand
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In 2010, amidst the flood of adaptations that filled the blockbuster season, Christopher Nolan’s Inception stood out for being not only an effective thriller, but more importantly for being one of the few original concept tent-pole releases of the year. This year you may hear similar things about JJ Abrams’ Super 8, but please do not be fooled. Super 8 is in fact arguably the most derivative film of the year, but for people of a certain generation who grew up on 80s family adventure films, it really is a rare treat. Working from the template perfected by executive producer Steven Spielberg in films such as Jaws, Close Encounters of the Third Kind, and E.T., Abrams delivers a sweet, nostalgic, and often frightening film unlike anything seen in cinemas for many years. While there is a lot to enjoy in many contemporary blockbusters, it takes a film like Super 8 to highlight the absence of a crucial ingredient in modern movies: heart. Most summer films released over the past decade have certainly been big on action set-pieces and visual effects, but everything else about them seems distressingly interchangeable. There’s a lone male hero. A love interest. A problem to be solved. And in many cases a kiss at the end. There’s no denying that it’s a successful formula (the box office numbers speak for themselves), but it is somewhat fleeting success. It really is a great shame that what people will remember about the films of the early 21st century is the style rather than the substance. In Jaws, it’s not the shark itself we remember so much as the pursuit of the shark and interactions between Brody, Hooper and Quint. In E.T., it’s the relationship between Elliott and the titular alien. Super 8 is Abrams’ love-letter to that period in cinema, and keen eyed viewers will undoubtedly spot many homages to films such as Stand By Me, The Goonies, and most obviously the early work of his mentor Spielberg. The film is rich with sent
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