In this era of remakes and reboots writer-director J.J. Abrams is here to introduce a third option: the throwback. Though ostensibly an original work his new film Super 8 is meticulously designed to appear as otherwise. Its intent which it makes no effort to hide is to mine our nostalgia for the early oeuvre of Steven Spielberg to invoke our affection for films like E.T. Close Encounters of the Third Kind and even Jaws. Should Mr. Spielberg be concerned? Hardly: He’s complicit in the scheme. The presence of his name atop the poster and his production company Amblin in the opening credits doesn’t just bestow credibility; it embeds the association in our memory making the bridge between what is and what was that much shorter.
Super 8 is set in 1979 – a creative decision which affords a measure of built-in nostalgia and allows the filmmakers to sidestep modern narrative nuisances like cell phones and Google – in the fictional working class community of Lillian Ohio. Our hero our embodiment of those prized (and I believe copyrighted) Spielbergian virtues of youthful innocence and wonder and unbounded curiosity is Joe Lamb (wonderful newcomer Joel Courtney) a polite earnest boy made all the more sympathetic by the recent death of his mother a steelworker in a workplace accident. Joe’s home life is rather dreary – his father Deputy Jack Lamb (Kyle Chandler) is too immersed in grief to be much of a parent – so he jumps at the chance to spend the summer with his mates shooting a DIY zombie movie.
They gather one night at a local train station to shoot a key scene for which they’ve pulled off the minor coup of convincing a pretty classmate Alice (Elle Fanning) to play the female lead. But the camera has scarcely started to roll when a passing train collides head-on with a pickup truck. resulting in perhaps the most over-the-top train crash I’ve ever seen on film an interminable sequence of ever-escalating vehicular carnage that would make the Final Destination folks gasp.
The driver of the truck that caused the crash is revealed to be the kids’ science teacher Dr. Woodward (Glynn Turman). Bloodied but still breathing he delivers them an ominous warning: “Do not speak of this. They will kill you.” We learn who “they” are soon enough when hordes of soldiers members of a top-secret branch of the Air Force descend upon the crash site to comb the wreckage.
Shortly thereafter the town is beset by strange unexplained phenomena. Engines disappear from cars. Dogs flee en masse. Worst of all townsfolk are vanishing abductees of a creature glimpsed only in shadow and yet utterly terrifying nonetheless. We need not see the monster to know its fearsomeness: All of the scare scenes are expertly choreographed by Abrams the score shot and sound design fine-tuned for maximum menace.
Chaos and panic spread. Believing the mysterious events and the train crash to be related Joe and his pals decide to mount their own investigation. With each successive clue they gather the implications of the conspiracy become clearer and they are soon on the verge of a revelation that will change their lives – and indeed the world – forever.
Super 8’s genre spread is staggering. The film is equal parts sci-fi epic conspiracy thriller creature feature coming-of-age drama and teen comedy. (You can even add “zombie flick” if you include the film-within-a-film.) The mish-mash isn’t so much a problem in the first half of the film – Abrams is such a gifted storyteller that he handles massive tone shifts with almost laughable ease – but as the story gathers steam it has more and more difficulty reconciling its disparate elements. More than once in the third act does Super 8 teeter on the edge of Shyamalanism only to pull back at the last moment.
The film is surprisingly affecting but never in a cynical or manipulative way. (This is a minor miracle.) Abrams’ secret weapon in this regard – and easily the film’s best feature – is his cast of child actors who are universally superb. Their interactions feel genuine their comic rapport natural and unforced. Fanning in particular is wondrous. At this point calling her a “child actor” feels somehow belittling as her talent easily outpaces that of the majority of her adult counterparts.
Their efforts are largely betrayed by an ending that feels false. A hasty and belated attempt is made to turn the creature into a sympathetic figure followed by a denouement drenched in artificial sentiment with smiles and hugs and assurances both stated and implied that everything is going to be all right from now on. It’s an ending that Spielberg might have been able to pull off but Abrams is no Spielberg. Not yet.
Cradle 2 the Grave isn't going to be known as one of those action flicks that thrills you but also has a surprisingly interesting story to back it up. Still Cradle has enough credible plot points to keep things moving until the next fight sequence. The action begins with Tony Fait (Earl "DMX" Simmons) and his fiercely devoted crew--including the stunning Daria (Gabrielle Union) and comic relief Tommy (Anthony Anderson)--pulling off a complex jewelry heist and snagging a valuable cache of black diamonds. These diamonds aren't what they appear to be but are actually something much more powerful--and deadly. Su (Jet Li) working for the Taiwanese government as a secret agent must retrieve them before its too late. Fait would be happy to hand over the stones for the right price but word of their value has hit the street and they are stolen by a powerful crime lord (Chi McBride). Su and the crimelord end up being the least of Fait's problems however when Su's ex-partner Ling (Mark Dacascos) now a ruthless arms dealer enters the picture. He and his treacherous woman (Kelly Hu) will stop at nothing to get those black baubles including kidnapping Fait's daughter Vanessa (Paige Hurd). OK things just got personal. Fait Su and company have to work together to fight off the onslaught of nasties exact revenge stop possible world destruction and get back the only thing Fait cares about in the world--his daughter.
Is it me or is Jet Li just too damn cool for words? The whole martial arts arena has certainly been stepped up with the Jackie Chan's and Crouching Tiger Hidden Dragon's of the world but Li brings back that calm yet deadly demeanor the late Bruce Lee made so popular. Granted Li hasn't had the same success in the U.S. as Chan--save for maybe his American debut performance in the smokin' Romeo Must Die. But he sure is impressive on-screen kicking the bejesus outta someone without blinking an eye no matter what the asinine plot line. Hip-hop singer DMX who also appeared in Romeo Must Die (along with Anderson) holds his own as a tough nut über-thief but he finds a little difficulty emoting when the time comes. The hilarious Anderson and the oh-so-alluring Union are quickly becoming the "It" black actors (him: Kangaroo Jack Barbershop; her: Deliver Us From Eva the upcoming Bad Boys 2) while the forever-irritating Tom Arnold pops up as a demolition surplus dealer (but make sure to stay all the way through the credits to watch a hilarious exchange between him and Anderson). Hurd does an nice turn as the feisty Vanessa who is fairly resourceful for a kidnapped 10-year-old. It's easy to see the apple doesn't fall far from the tree.
Enough with all the superfluous plot lines and acting analysis--let's get down to real reason the movie exists. Action. High octane fist-flyin' action and as a self-proclaimed action junkie--and newly transformed martial arts fan--Cradle certainly doesn't disappoint. Director/cinematographer Andrzej Bartkowiak who worked with Li and DMX on Romeo Must Die knows how to frame the martial arts sequences while using the pounding hip-hop soundtrack and urban locale to full effect. One of the more fast-paced sequences has Fait outrunning police cars on a three-wheel ATV eventually jumping the bike from rooftop to rooftop while Su in another location is fighting off a dozen guys in a boxing pit including an aggressive midget who would like to smash Su's face in but ends becoming a device to fend off the rest. All while DMX is belting out a jammin' song. Great stuff. Of course you wait for the ultimate showdown between Su and his nemesis Ling and when it comes it's a jaw-clencher. The film is just a purely mindless roller-coaster ride.