Literary Analysis

Some of the best memories of my childhood involve running around with a digital camera, making lame home movies that we later stitched together in Windows Movie Maker. I also grew up watching some of the best movies to come out of Hollywood – Spielbergian classics along the lines of Indiana Jones, E.T., Jaws, and a multitude of others. Those are the kinds of films that fire up a kid’s imagination, evoking a sense of fantasy and wonder.

“Super 8” is that type of movie, made for a new generation.

The film follows Joe Lamb (Joel Courtney), a young teenager mourning the recent death of his mother in a steel mill accident. His hard-driving best friend, Charles, is planning to enter a film festival with a homemade zombie movie. Toting their old “Super 8” video camera, and accompanied by pretty classmate Alice Dainard (Elle Fanning), Charles and the gang sneak out one night to an old train station. Just as they’re shooting a climactic scene, disaster strikes: an oncoming train derails after a head-on collision with a mysterious truck. The truck’s driver – barely clinging to consciousness – gives them a stern warning: if they speak of what they have seen, they and their parents will die.

Shortly thereafter, the town is swarmed by Air Force personnel under the command of ruthless Colonel Nelec (Noah Emmerich). It soon becomes clear that something inhuman is prowling the town…something that may or may not have escaped from the mysterious train. As the search for the strange creature intensifies, Joe, Charles, Alice, and their companions are thrown headlong into a crisis situation.

If this was the entirety of “Super 8,” there wouldn’t be much to differentiate it from any of the other sci-fi/horror films crowding cinemas. But “Super 8” manages to be an action movie with a heart. The relationship between Joe and his father develops movingly and realistically as the story progresses, as do the bonds of friendship between the kids themselves. Refreshingly, the kids act exactly as one might expect – there’s the bossy kid, the quiet one, the nerd, the pyromaniac, etc. For me, at least, it evoked a sense of real nostalgia…a reminder of a time before Facebook and the Internet age.

In keeping with its origins (as a homage to the likes of “E.T.”), “Super 8” celebrates traditional values. The value of family is celebrated in a realistic way that never feels saccharine. Kids risk their own lives to help one another and do the right thing, even in the face of overwhelming adversity. There’s no “agenda” underlying this film…but rather a celebration of things that are genuinely true and good.

Outstanding production values serve to strengthen an already compelling story. The actors’ performances are remarkably strong, and the few CGI effects never overwhelm the human story. The sound design deserves a special mention here – it’s some of the best I’ve ever heard in any movie. This fills otherwise “mundane” scenes with dramatic intensity, maintaining the film’s breakneck pace.

The biggest objectionable-content concern in “Super 8” is profanity (including an f-word) – much of it used by the kids. This, unfortunately, will likely prevent the film from becoming an instant all-ages success. It’s also worth noting that this is an extremely intense movie – some of the scenes with the monster are jarring, even for relatively hardened moviegoers. (And that’s saying nothing of the explosive, hyper-kinetic train derailment scene.) At the very least, it’s not a film for anyone under 10 or 11.

I’m intentionally leaving vague many of the details regarding this film. This is a movie that has to be seen for oneself to be truly appreciated…and no brief review can do it full justice. Suffice it to say that “Super 8” is a throwback to an earlier, better era of moviemaking. Not everything needs to be “gritty” and “dark” to be outstanding…and even though there are a few content concerns, most viewers will find it an exhilarating and uplifting summer adventure. As I was leaving the theater, I heard a little boy shout excitedly to his friend, “This movie ROCKS, dude!”

Yup, pretty much.

VERDICT: 9/10
A future classic of the sci-fi adventure genre, and one of the best movies I’ve seen in theaters this year. Highly recommended.

Normalized Score: 7.9

It’s probably fair to say that the original “X-Men” was the film that kick-started the modern deluge of superhero movies. Ever since then, the X-Men franchise has generally been one of the stronger players in the superhero film market. And the recently released “X-Men: First Class” continues this trend – it’s an elegant, streamlined prequel with remarkably developed characters. While not quite up to the level of “Thor,” it’s a solid adventure that many fans will find compelling.

“X-Men: First Class” focuses primarily on the relationship between Charles Xavier (James McAvoy) and Erik Lensherr (Michael Fassbender). One will ultimately become the kindly, genial Professor X…while the other will rise as the dreaded villain Magneto. Their upbringings could not be more different – Charles is raised in privilege, while Erik endures the horrors of the Holocaust. While Charles pursues success in academia, Erik travels the world exacting revenge against his Nazi tormentors. When their paths finally cross, an unlikely friendship is forged.

The year is 1962. CIA agent Moira MacTaggart (Rose Byrne) has stumbled onto a conspiracy: a group of evil mutants known as the Hellfire Club, led by ex-Nazi scientist Sebastian Shaw, are planning to instigate a U.S./Soviet world war. She recruits Charles (known for his telepathic abilities) and Erik (a manipulator of magnetic force) to stop Shaw and his comrades. Along the way, they build a team of mutants from all over the U.S., forming them into the first “X-Men” (as opposed to “G-Men). The film culminates in a fascinating “retelling” of the Cuban Missile Crisis, filled with plenty of explosive action.

In many ways, “X-Men: First Class” feels like a good James Bond movie. There’s the same witty dialogue, the same international-conflict setting, and the same breathlessly paced action scenes. (It also means that there are many of the same content problems present in the “Bond” franchise). The 1960s setting really works in the movie’s favor – it gives the film a clever alternate-history tone, much like its predecessor “X-Men Origins: Wolverine.”

Where the film really transcends its predecessors, however, is in developing a complex relationship between Charles and the shapeshifting mutant Raven (also known as Mystique – played by Jennifer Lawrence). Whereas in earlier films her character lacks real depth, in “First Class” her true insecurities are revealed. Tortured by the horror of her “true” physical appearance, she longs to find acceptance as she is…even if that means abandoning convictions in the process. Her attitude is, ironically, summarized by the recent hit song “Born This Way” (Don’t hide yourself in regret / Just love yourself and you’re set / I’m on the right track, baby / I was born this way). And in the end, it is this aggressive antagonism that leads to her undoing.

This illustrates one of the predominant themes of the film: alienation from society. It’s easy to draw parallels between the X-Men and any arguably “disenfranchised” group…accordingly, many have tried to link the film series to the modern gay rights movement. If the film is read in this way, however, its message may be the opposite of what many “gay rights” organizations promote: Magneto, the film’s antagonist, is a vocal supporter of “mutant pride,” while the nobler Charles advocates subtle coexistence. This directly contradicts many of the “out and proud” themes present in the modern homosexual movement. Though an offhand reference is made to the “don’t ask, don’t tell” system, it’s played for laughs. The film is perhaps closer to an analogue of the Civil Rights Movement – in which peaceful, nonviolent integration (e.g. Martin Luther King, Jr.) is held up above violent animosity (e.g. the Black Panthers and other related groups).

The film doesn’t trample on individuals’ self-worth, however – rather, it celebrates uniqueness and individuality. Instead, it rejects the destructive attitude of “just be yourself, no matter what.” Sometimes, personal desires must be subverted for a higher purpose – in order to foster greater acceptance of mutants in the long run, Charles is willing to “turn the other cheek” and be treated like a monster. Christian viewers will likely find much food for thought here, as well as some good topics for discussion. Clearly, the film is a few philosophical notches above the average summer blockbuster.

Where “X-Men: First Class” stumbles, however, is in its supporting cast. While McAvoy and Fassbender are outstanding in their roles, the rest of the new X-Men simply lack appeal. Gone are series stalwarts Storm, Cyclops, Wolverine, and Nightcrawler – instead, viewers get Angel, Havok, Banshee, and Darwin. At times, the film feels like it’s scraping the bottom of the barrel for fresh characters. I recognize that the film is intended to be a jumping-off point for the “next generation” of Hollywood stars, but these characters simply lack depth.

Objectionable content is, unfortunately, well above the median for superhero movies. In addition to language (including one f-word) the film also carries a rather strong sexual undercurrent. Blue-skinned mutant Mystique has always been a sensuous character, and “First Class” certainly accentuates this. The requisite female villain, Emma Frost (January Jones), is a sultry Bond-girl figure who wears little more than lingerie throughout the entire movie. And while the violence isn’t much worse than other superhero movies, it’s depicted in an especially harsh, realistic way. This isn’t a particularly “family-friendly” film.

Older viewers, however, will find much food for thought in “First Class.” Though it doesn’t pack the same emotional punch as “Wolverine” or “X2,” it offers a nuanced, philosophical story garnished with stylish action. It’s a strong fifth installment in a remarkably long-lived superhero franchise.

VERDICT: 8/10
A rousing, thought-provoking action film that recalls the best of “Bond.”

Normalized Score: 5.8

Aside: There is no extra scene after the credits…unfortunate, I know.