Nostalgia, Homages, Midnight in Paris, and Super 8

This past weekend I took in two very different but pretty terrific films: J.J. Abram’s Super 8 and Woody Allen’s Midnight in Paris. Both films deal with the past. One film pays homage to what some would call the golden age for one of our greatest filmmakers, and the other film deals with the very concept of a golden age, or if such a thing even exists. After Allen’s film, a friend and I began to recall our own histories, talking about films that got us into movies in the first place and films that continued to have significant impacts well past our childhoods. Together, films like There Will Be Blood, E.T., J.F.K., Bottle Rocket, Close Encounters of the Third Kind, Die Hard, The Social Network, Jaws, Punch-Drunk Love, Star Wars, The Thin Red Line, Pulp Fiction, and Magnolia were mentioned. These were films that stayed with us for one reason or another. They’ve affected us in significant ways and helped fashion what we love about the medium. We got to talking about the independent film movement in the late ’80s-early ’90s and how exciting it was when films like Drugstore Cowboy, Sex, Lies and Videotape, Reservoir Dogs, and even Clerks were popping out and how that excitement has kind of dwindled. Those were the good ol’ days, right?

I’ve always felt nostalgia could be a nice crutch in life. I’m not talking about living in the past. I’m not talking about a lack of perspective. As we get older we get more analytical, more guarded, and with good reason. Through experience we have gained perspective as we shed ourselves of our more naive skins. Practicality and then cynicism looms over our jaded selves. When cynicism gets out of hand, it can make us a lot less happy, enjoy less. It can be toxic. We may even become cynical a-holes (in fairness, the The Zookeeper can do that to anyone). So when I say nostalgia can be good, I mean it helps remind me of where I’ve come from and how I came to be the person I am today; I’m talking about the reflective acuity the past allows for the present, or even the future. I believe it’s good for the soul.

Some circles have accused Super 8 of using nostalgia as a crutch, which doesn’t make a whole lot of sense. You can’t direct nostalgia. What is nostalgic for me may not be nostalgic for you. But the common thread of nostalgia is innocence, or at least a perceived innocence or a perceived purity. It can be an innocence of the mind (childhood, past relationships, old locations) or of a medium (types of films). What you can do — and what Abrams I feel does very successfully — is take everything he loved about Steven Spielberg’s Old Testament offerings and try to share that with the rest of us. If it works, it perhaps evokes feelings of nostalgia for an individual as it reminds us of the types of films we used to get from a master of cinema. But it can’t actually be those films for me because I’m not 8 years old anymore.

Admiring what Abrams accomplished isn’t a case of living in the past either. That’s too easy a dismissal and more than a little condescending. It’s the difference between celebrating what we love from those more innocent times and wishing, say, Hollywood would simply “Make’em like they used to.” In Super 8‘s case, it’s about paying homage to early Spielberg. In Midnight in Paris, however, Owen Wilson does wish they made it like they used to, only he’s referring to life. He pines for the days in Paris when giants like Hemingway, Scott and Zelda, or Cole Porter could be spotted walking out of the Moulin Rouge. Here is a man who literally would like to live in the past. We sometimes look at our own pasts through gold-filtered lenses, and Allen says it is perhaps even more dangerous to harken back to a time you didn’t even experience. In life, in real life, romanticism leaves in a hurry. It is not only unhealthy to live in your own past, it is unhealthy to pretend you can live in any golden age. More to the point, there is no golden age. There is always struggle and there is always pain, and we will never have the benefit of a future perspective in our present reality.

With the experiences that life affords us, however, you can choose to engage in the spirit you still treasure of that past time. Abrams engaged in this spirit. And at the end of the Allen’s film, Wilson’s character chooses Paris not because he is a fool or duped into thinking he can relive his youth. He is fairly collected and clear-headed. He understands life throws curve balls and that he even may be making a mistake. But he also understands that if he doesn’t try to live the kind of life he always wanted to live, if he doesn’t try to be the person he always wanted to be, he will continue to be lost and he will continue to be disappointed and he will continue to wonder.

In Paul Thomas Anderson’s Magnolia (one of those impact films mentioned earlier), there is a very foreboding message repeated in the film: “We may be done with the past, but the past isn’t through with us.” I’ve always understood the darker connotations in this message, but later it inspired a different reading; that it is just as much a positive assurance as it is a threat (the film’s many outcomes are further evidence). As a guy who tries to use my past failures and successes to an advantage today; who will continue to assess who I am and why I am; who will always love Spielberg’s early films, who will always treasure all there is to treasure from the all the “golden ages” from which one could choose, be it Paris in the ’20s or the Nintendo era of the ’80s, it’s a pretty comforting thought.

Which of The Super 8 Actors Is Most Likely to Break Out?

Whenever the cast of a movie consists almost entirely of unknown youngsters, however critically acclaimed or shamed, whatever number it hits opening weekend, one thing is for certain: the film will jump-start at least one, if not multiple fresh-faced careers. It’s always fun to look back on kid-driven movies of yore and observe who succumbed to Child Actor Syndrome, who left the business, and who managed to break out in some way, still working to this day, behind the camera or in front of it, as the lead or the sidekick, the villain or the love interest, on television, in the movies, on stage or creating their own work on the Internet. So we decided to take a look at the kids of J.J. Abrams’ flawed but sweetly fun Super 8 to try and figure out who has the best chances of moving on to a long and luscious career in the entertainment industry. As a bonus, we’ve thrown in some possible directions their careers could take, based on potential counterparts that have already made the transition.

Zach Mills – Preston
Age: 15
IMDb.com Credits: 26
While not featured enough in the movie to get a real sense of his ability as an actor, Mills boasts an already impressive resume, proving he’s is in it to win it, for now at least. And with those floppy ears and lanky frame on his side, there’s always the possibility of a bright future playing the dorky friend until he can graduate to playing the quirky, dirty, and/or smarmy character roles. In terms of romantic lead potential, I wouldn’t say that’s necessarily in the cards for young Mills, but hey, that’s not a bad thing — just ask Jackie Earle Haley. This type is valuable and Mills is already well on his way to cornering that market for his age group.
Possible directions: Jackie Earle Haley, Lukas Haas, or Wil Wheaton.

Gabriel Basso – Martin
Age: 16
IMDb.com Credits: 11
Based on his performance in Super 8, I would have guessed Basso was exactly like Martin, the case with most child actors. So you can imagine my surprise when I found out that not only is he a regular on The Big C, but he plays a character nothing, not even remotely a little bit like his role in Super 8, proving the 16-year-old already has some epic range. Plus, once the period thick rims are removed, we start to notice Basso’s intriguing look and wonder if Sam Worthington will need a teenage version of himself on the screen anytime soon. Based on The Big C and Super 8 simply on their own, perhaps no one would think twice about Basso as a performer to be reckoned with, but if there’s anything rare in kid actors, it’s the ability to actually act, so I’m already expecting lots more to come from this one.
Possible directions: Josh Brolin or Christian Bale.

Ryan Lee – Cary
Age: 14
IMDb.com Credits: 20
A veteran of short films and nameless small roles and guest spots, Lee’s first major part was in Super 8 and since wrapping it, he has appeared in two more movies; The Legend of Hell’s Gate: An American Conspiracy, co-starring Eric Balfour and Summer Glau, and Meeting Evil with Sam Jackson and Luke Wilson. The delightfully goofy Lee hands-down has the best comic timing of the entire Super 8 crew. His range beyond that beats me, but innate comic timing has launched plenty of successful careers, and if he (or rather, his agent) plays his cards right, there’s no reason this kid shouldn’t start playing with the comedy big boys right away.
Possible directions: Seth Green or Shia LeBeouf.

Riley Griffiths – Charles
Age: 14
IMDb.com Credits: 1
Practically stealing the movie (in my opinion) in his first role ever, Griffiths is a strong candidate to continue on with a successful career. Simultaneously tough and soft, the leader and the follower, the sympathetic comic relief, Griffiths pulls off a lot more in Super 8 than we may initially notice. His enthusiasm as Charles is infectious and he managed to completely convince me that the film we saw running through the credits was in fact a Charles Kaznyk production. Plus, based on interviews I’ve read, it seems the teen, who has been acting in theater his whole life, has a good head on his shoulders and despite deciding to pursue a career in acting, knows that he doesn’t want to sacrifice his childhood to do so. As long as he can avoid the pitfalls of suddenly becoming famous, which it seems he is prepared to do, I have high hopes.
Possible directions: Jerry O’ Connell or Sean Astin.

Joel Courtney – Joe
Age: 15
IMDb.com Credits: 1
Another total newcomer, Courtney is the emotional center of Super 8 and does a fine job grounding the extraordinary events unfolding around him. I thought EW’s Lisa Schwarzbaum said it best when describing his biggest strength as an “unteachably open-faced sweetness.” Spielberg’s knack for discovering the ultimate adorable everyboy is just as right on here as it ever has been, as I bought everything the relatable Courtney was throwing at me, no matter how ridiculous the movie may have gotten at times. But nailing the endearing qualities of a young teen doesn’t always mean there is an acting ability beyond that effortless naturalism and definitely doesn’t always translate into a huge career (see Henry Thomas). While Courtney was wonderful in this role, I wouldn’t be surprised if he chose not to pursue acting as a life commitment.
Possible directions: Henry Thomas, Joshua Jackson, (or, hey, Nicholas Hoult, no one saw his career coming!).

Elle Fanning – Alice
Ace: 13
IMDb.com Credits: 32
Mature, statuesque, honest, and daring, Fanning is already an actress well beyond her years. I am consistently shocked when I hear how old she is and it really makes me wonder what gypsy put what magic into the Fanning blood that has produced two such talented and humble actresses at such young ages. There is no doubt in my mind that Fanning will continue to be awesome over the next five years, go get a great education somewhere, possibly at NYU, following in her sister’s footsteps, then return to acting once more, better than ever. This girl’s got it in the bag, so much so that while we would be remiss in not mentioning her here, she isn’t actually in the running for Most Likely To Break Out simply because she already has — that ship has sailed. Keep on keeping on, Elle Fanning.
Possible directions: Dakotah Fanning, Natalie Portman, or Martha Plimpton.

So based on the evidence presented here, who do you think will come away from Super 8 with the most illustrious career? Not including the lady of the group who already has one, of course. Did you see something in any of the actors that I didn’t? Know of a part right now that any of them would be perfect for? Obviously, only time will tell which of these talented kids will stay on the acting track for the long haul, but in the meantime, I’m absolutely looking forward to seeing what each one does next.

Box Office: Super 8 Finishes First

Super 8 opened with an estimated $37 million, enough to win the weekend, though it was only the 10th-largest opening weekend of 2011. Still, it fared better than the other wide release, Judy Moody and the NOT Bummer Summer, which couldn’t even crack the top five.

Here’s the complete top five, courtesy of BoxOfficeMojo.

1. Super 8 $37,000,000
2. X-Men: First Class $25,000,000
3. The Hangover Part II $18,500,000
4. Pirates of the Carribean: On Stranger Tides $10,846,000
5. Bridesmaids $10,154,000

In limited release action, Midnight in Paris only had 944 theaters, but it still cracked the top 10 with almost $6.2 million in earnings. The Tree of Life also did well, taking in $875,000 from 47 theaters. Beginners and The Trip were also over $10k per theater, boding well for their fortunes when they gain theaters.

Next weekend, Green Lantern squares off against Mr. Popper’s Penguins. Who will take the crown?

FILM SUPER 8

Tanggal Rilis :10 June 2011
Jenis Film :Mystery | Sci-Fi | Thriller
Diperankan Oleh :Elle Fanning, Amanda Michalka and Kyle Chandler
Ringkasan Cerita FILM SUPER 8 :

In the summer of 1979, a group of friends in a small Ohio town witness a 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.

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Review: Super 8 a Sturdy Tribute

“Production value!,” the tubby kid screams. He and his friends are shooting a scene at the train station, and he isn’t about to get another shot at having an honest-to-goodness train speed past and therefore lend instant credibility to this scrappy production.

By all accounts, J.J. Abrams was that tubby kid at some point. I doubt the man was ever that husky, but Abrams grew up making Super 8 movies with his friends, bonding over the craft of it all. In 1979, you couldn’t exactly add in a passing train later, or a crashing one for that matter. So when a train approaches Lillian, Ohio, under cover of darkness, Charles (Riley Griffiths) gets excited, and when that train derails all around him and his friends, they get scared.

Charles isn’t our protagonist, though; Joe (Joel Courtney) is. The son of a deputy and widower (Kyle Chandler), Joe takes more to monster makeup than Dad’s recommendation of summertime baseball camps, where their figurative distance might be replaced — or reinforced — by a literal one, and so he falls in with his friends: insistent Charles, pyro Cary (Ryan Lee), dork Martin (Gabriel Basso, channeling Martin Starr), and dweeb Preston (Zach Mills, channeling Eddie Deezen). New to the crew is Alice (Elle Fanning): she’s perfect to Joe, she’s ideal for playing the newly-added wife of Martin’s detective, and she can drive. It’s handy to have a getaway driver, even an underage one, when a railroad disaster occurs in the middle of nowhere in the middle of the night. It makes it easier to evade authorities when they come looking for the culprit behind the crash and the cargo that may have escaped…

The thing is, J.J. Abrams adored the same Steven Spielberg classics that we all did, and if you’ve seen E.T. and Close Encounters of the Third Kind and Jurassic Park and Jaws, then you have a rough idea of what’s in store. Abrams is Charles all grown up, still making films with his friends (which now happen to include Spielberg himself as producer) and with no shortage of production value in sight. As the writer-director does a pretty good impression of “the Beard,” composer Michael Giacchino does a very good impression of John Williams, while Larry Fong’s handsome cinematography is only compromised by Abrams’ distracting fondness for lens flares (but it’s the way S.S. used to do it; this also explains the occasional split-focus shot).

Naturally, Joe’s dad knows Alice’s dad (Ron Eldard) for all the wrong reasons, while that same sense of tragedy only brings the kids closer together. Courtney’s a newcomer, Fanning already a pro (and often a more natural screen presence than older sis Dakota); both are knock-outs here. The young ensemble as a whole exudes an earnest camaraderie in the face of aggressively applied slang and late-inning reveals. Even more, the screenplay is laden with emotional shortcuts and obviously important plot points. In fact, the inciting train crash is such a phony cacophony of close calls and ham-fisted exposition that by the time the second-half set pieces are doled out, they all prove more exciting for their lack of both digital abandon and narrative burden. The sheer topsy-turvy imagery of a suburban war zone here and a school bus/prison transport/makeshift tomb there speaks loud enough on its own.

The parallel investigations carried forth by father and son into the Air Force’s sudden interest in little Lillian, Ohio, bring about a perfectly heated confrontation (the man who can’t bring himself to cook dinner for his son becomes the sheriff who is powerless to help a scared population of 12,000) and a cheeky sense of circumstantial role-playing (both Joe and Dad find themselves reluctantly suited up as soldiers) as something literally digs away at the foundations of their community. Part of the problem is in Abrams approaching his creature with Jaws-like tact, playing hide-and-seek with it when early attacks occur. But in Jaws, we already knew what a shark was and what it would eventually look like; it was Spielberg’s Jurassic Park that made the monster(s) halfway in and thus gave suitable weight to the threat at hand. Abrams spends so long playing the tease that its sudden shift from elusive beast to misunderstood being feels like a last-minute misstep, an emotional appeal for an established menace that doesn’t tie itself as well into Joe’s personal arc as it would clearly like to.

Abrams’ Cloverfield cohort, Matt Reeves, already did a damn fine job remaking E.T. last year with his Let Me In. However, Abrams wanted to mimic more than just E.T., and the result is about as sturdy as that film was sure-handed. There is a lot to like about Super 8, but little that’s new. It’s comfort food whipped up well by a former fat kid; the recipe remains the same.

Grade: B

Super 8 Hits IMAX Theaters Early

Interested in seeing Super 8 early? From our pals at Paramount Pictures:

HOLLYWOOD, CA (June 8, 2011) – Paramount Pictures and Twitter jointly announced today sneak preview showings of the movie SUPER 8 for 1-day only on Thursday, June 9th, in advance of the film’s scheduled nationwide release on Friday, June 10th. To promote the sneak previews, the companies have designated the hashtag #Super8Secret, which Paramount has also sponsored as a Promoted Trend, allowing Twitter’s global user base a direct link to buy tickets to the advanced previews. At select, participating theatres in the United States, Super 8 Sneak Preview moviegoers will be treated to a free popcorn (with a concession purchase) at each sneak preview show. Hosting movie sneak previews marks a first for Twitter. This promotion continues a key partnership between Paramount and Twitter on SUPER 8. The duo joined forces in March for the movie’s exclusive trailer premiere via Twitter, another exciting first for the site.

SUPER 8, from writer/director J.J. Abrams and producer Steven Spielberg, will open exclusively tomorrow, June 9th, on over 300 screens nationwide, featuring all 239 IMAX playdates in the U.S. and Canada. Fans can go to www.Twitter.com/Super8Movie and use
#Super8Secret to share information about the movie with friends.