1. 1/8/2016 DVD Verdict Review - Super 8 (Blu-ray)
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Case Number 22781
SUPER 8 (BLU-RAY)
Paramount // 2011 // 112 Minutes // Rated PG-13
Reviewed by Chief Justice Michael Stailey // November 22nd, 2011
The Charge
"Production value!!!"
Opening Statement
Between Super 8's theatrical debut and its release on home video, I've seen the film six times. If that
weren't surprising enough, these repeated viewings have done nothing to diminish its charms.
Facts of the Case
USAF Case File: 4815162342. Lillian, Ohio. June 1979. Transport of classified government cargo
through the Ohio river valley suffered a setback when the train was intentionally derailed by
dishonorably discharged USAF scientist Dr. Glenn Woodward. The transport's key package was lost
during the accident and efforts are underway to locate and retrieve it. However, complications have
arisen in the form of Deputy Sheriff Jackson Lamb and a group of local children who may have
witnessed the event. As attempts to interrogate the injured Dr. Woodward have proved futile, we have
initiated "Operation Walking Distance" to eliminate further obstacles to our mission and recover the
package at any cost. -- Colonel R. Nelec
The Evidence
Before we begin, I'm well aware there's a large number of people who saw Super 8 and did not care

2. 1/8/2016 DVD Verdict Review - Super 8 (Blu-ray)
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for it. I respect that. When it comes to movies, there's no such thing as one-size-fits-all. But something
about this film resonated strongly with me. I'm sure part of it has to do with the fact that I was 11
years old in 1979 and had a similar group of friends with similar interests. But there's more to it than
that. I feel the same way about Super 8 as I do Joe Dante's Matinee, which was set during the Cuban
Missile Crisis. At the core of these adventures is a heartfelt sincerity, tapping an innocence most of us
have long since buried or forgotten; a sense of wonder and trust that enables us to see the world with
fresh eyes, untainted by life's failures and regrets.
For those who argue that Super 8 is far too derivative, I challenge you to name a film that isn't
influenced by the collective conscience of the modern world. Yes, there are references and allusions
to E.T., The Goonies, Stand By Me, Moby Dick, Jurassic Park, Raiders of the Lost Ark,
Cloverfield, King Kong, and others. And that's okay. The key to storytelling is taking your thoughts,
dreams, and experiences and synergizing them into something new, to engage, entertain, challenge,
and thrill your audience. I guarantee you've never experienced anything like Super 8's trail derailment
sequence, which (to date) may be the most compelling audio/visual sequence sound designer Ben
Burtt and ILM have helped create.
The important thing to consider here is that even after six viewings of Super 8, the humor, the
tension, and the believability still plays. This is due in large part to an ensemble cast of pre-teen kids
who aren't acting; they're being. Big difference. Joel Courtney (Joe) and Riley Griffiths (Charles) are
fronting their very first film, and even though their co-stars may be more experienced in front of the
camera, the chemistry this group shares is organic and electric. Elle Fanning, with all her impressive
credits, is every inch a 12 year old coming into her own; and the moments Alice shares with Joe are as
real as our own innocent sexual awakening. As an added bonus, the adults aren't relegated to being
two dimensional idiots. The earnestness of Kyle Chandler (Friday Night Lights) as Joe's father and
the brokenness of Ron Eldard (House of Sand and Fog) as Alice's dad provide an exceptional
balance for what these kids are experiencing, and Noah Emmerich's (Little Children) Captain Ahab-
like pursuit of the alien gives the film a ruthless villain (who's also a real coward).
Within fifteen minutes of the opening, every principal character is well-defined. When's the last time
you remember that happening? From there the adventure unfolds in classic '70s style, with character
development taking center stage and action set pieces used only to fuel the fire. Abrams insistence on
using practical sets and effects whenever possible goes a long way towards grounding Super 8 in a
palpable reality. From quiet emotionally charged dialogue to the military laying waste to an entire
neighborhood, this story lives and breathes carrying us along with rapt attention. Peppered with subtle
and overt references to the era and the genre, you'll have a blast discovering all sorts of audio and
visual Easter eggs. Yes, Bad Robot's good luck charm Greg Grunberg does make an appearance, as
does composer Michael Giacchino (Deputy Crawford) and Leonard Nimoy in his classic In Search
Of... television series.
What you don't want to get caught up in are the myriad of historical inconsistencies, be it a Rubik's
Cube reference, the appearance of a Sony Walkman, or the color of the Space Shuttle's external fuel
tank. Super 8 is not a perfect film. There's a mass exposition dump, an alien inadvertently assisting in
a rescue, the heavy-handed significance of Joe's locket, and seemingly interminable shots of the cast
looking up at the night sky. It also poses questions like how does a pickup truck derail a massive
freight train? How is it that no military personnel were on the train or survived the crash? Not one
person other than the kids surfaced during that 10 minute stretch. Why does the alien look like the
Cloverfield monster? And if said alien is building a giant magnet, why aren't all metal objects drawn
in by its power?
Look, I'm not here to anoint JJ Abrams as the second coming of David Lean or Cecil B. DeMille.
What I will say is that he epitomizes the first generation of filmmakers to emerge from the school of
Steven Spielberg and George Lucas. And he's not alone. Surrounding himself with contemporary
artists like Matt Reeves (Let Me In), Bryan Burk (Lost), Larry Fong (300), and Michael Giacchino
(Up) -- all of whom possess a shared love of movies and a passion for filmmaking -- JJ is fronting the

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"Fog City Mavericks" of his generation, the difference being their sandbox is television as well as
film. More importantly, there's a humility and self-deprecation that shows they're immensely grateful
for the opportunity to do what they do. Listen to the commentary in which half the time is spent
pointing out all the seams, flaws, and difficult decisions they had in putting this film together. It's
clear they're the same kids who shot Super 8 films in their backyards with neighborhood friends; only
this time they have access to better equipment. It's impossible not to be drawn in by that passion.
Presented in 2.40:1/1080p widescreen, cinematographer Larry Wong shot the film anamorphically on
35mm film stock that closely resembles the late '70s. It's a bold, rich image, dripping with color and
emotion. Between Abrams' framing, Fong's lighting, and Martin Whist's production design, this is an
intimate story that plays on a very big, beautiful canvas. Yes, Abrams' love of lens flares is all over
the place, but you get used to it after a few minutes. Super 8's dirty little secret is that pickups and
reshoots were all done digitally on the Red camera and doctored to fit seamlessly into the film. And I
mean seamlessly. The entire train derailment was shot in the California desert and matted onto the
West Virgina landscape. Hell, Lillian's water tower never existed in real life, and it's impossible to
tell, even in high definition. Masterful work all the way around. The same holds for the 7.1 Dolby
TrueHD audio. Looking for reference quality material to impress your friends? Just flip to the train
derailment and watch their heads explode. From the big action set pieces to the smallest moments of
everyday life in steel town Ohio, this is one serious audio mix that leverages every inch of the sound
field. Composer Michael Giacchino delivers yet another beautiful score that uses silence as effectively
as it does its orchestral core. What's more, he chooses specific moments to deftly channel the great
John Williams, lending an even greater cinematic '70s vibe. There may not be as many memorable
themes, but the two key ones will resonate with you long after the film is over.
In terms of bonus features, Bad Robot and Paramount deliver another gem. I was extremely hesitant to
immerse myself in anything that would take away from pure enjoyment of the film. To my
amazement, these features only serve to enhance the experience.
* Commentary -- Abrams, Fong, and producer Bryan Burk welcome you into their world for 112
minutes of insights, stories, comedy, and a quest to text Steven Spielberg the perfect question (thus
drawing him into his very first commentary). Do they succeed? You'll have to listen to find out.
* Featurettes (98 min) -- Watched individually or as one long behind-the-scenes documentary, the
style and tone blend beautifully into Super 8's world. From the origins of Abrams' use of Super 8
cameras as a kid and an intimate portrait of Weirton, West Virginia where the film was shot, to Larry
Fong's magic and Neville Page's creature design, we get just enough of a look behind the curtain to
make us appreciate Super 8 all the more.
* Deconstructing the Train Crash -- This is the one feature that drove me nuts. I appreciate what they
were trying to do, but being forced to click through each individual element on the map and listen to
that ridiculous Get Smart/Mystery Science Theater 3000 door opening sequence every time got to
be way too much. If you can tolerate the tediousness, the content is definitely worth exploring. I just
would have preferred a "play all" function.
* Deleted Scenes (13 min) -- Fourteen alternate, extended, and deleted scenes serve to flesh out
certain story elements a bit more, but you quickly realize that Abrams' editors -- Maryann Brandon
and Mary Jo Markey -- are extremely skilled at distilling a scene down to its pure essence.
* D-Box Enabled -- Has anyone ever used this functionality?
* BD-Live -- Paramount marketing material for current and upcoming films.
* DVD Copy -- This one might get used quite a bit.
* Digital Copy -- I've yet to utilize any digital copies in my library, but I have a feeling iPad users

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may jump on this one.
Closing Statement
Inspired by classic sci-fi/monster movies and informed by an era in which America's innocence was
still hanging on by a thread, Super 8 is love letter to genre fans and a thank you to Steven Spielberg
and his peers. Proven to play better to some audiences than others, you owe it to yourself to see in
which camp you reside. Super 8 holds a special place in my heart and a prominent place in my movie
collection.
The Verdict
"Stop talking about production value, the Air Force is going to kill us!"
Review content copyright © 2011 Michael Stailey; Site layout and review format copyright © 1998 -
2016 HipClick Designs LLC
Scales of Justice
Video: 99
Audio: 100
Extras: 97
Acting: 99
Story: 95
Judgment: 98
Perp Profile
Studio: Paramount
Video Formats:
* 2.40:1 Non-Anamorphic (1080p)
Audio Formats:
* TrueHD 7.1 Surround (English)
* Dolby Digital 5.1 Surround (French)
* Dolby Digital 5.1 Surround (Portuguese)
* Dolby Digital 5.1 Surround (Spanish)
Subtitles:
* English
* English (SDH)
* French
* Portuguese
* Spanish
Running Time: 112 Minutes
Release Year: 2011
MPAA Rating: Rated PG-13
Distinguishing Marks
* Commentary
* Deleted Scenes
* Featurettes
* Interactive Sequence
* BD-Live
* D-Box Enabled

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* DVD Copy
* Digital Copy
Accomplices
* IMDb
http://us.imdb.com/title/tt1650062/combined
* Official Site
http://www.super8-movie.com/