Super 8 is a a glorified fan film. A throwback to those wonderful Amblin efforts of the 80's and there's nothing wrong with that, particularly when taking into consideration that this film was crafted by someone as skilled as J.J. Abrams. Having said that, it should be noted that many of the movies Abrams is winking at (E.T., The Goonies, Close Encounters, Jurassic Park, Poltergeist, and Jaws, just to name a few), all happened to be original efforts in their day. What Abrams does here is send his spirited youthful cast (young leads Joel Courtney and Elle Fanning are particularly memorable) through an Amblin's Greatest Hits package (mixed with a barrage of colorful odes to the likes of The Thing, Explorers, Alien, War of the Worlds, Stand By Me, Invaders From Mars, and Romero's "Dead" series). Again, there isn't anything all together wrong with this notion. In fact, the end result is quite the entertaining experience despite a messy, chaotic, and wildly uneven final act and a climax that seems insistent on breaking its own rules (to elaborate further would be to ruin key elements of the plot, but I will say that based on this film's observation, certain types of metal are impervious to magnetic force). Furthermore, Super 8 reaches for a couple of emotional moments during its final frames that the film doesn't entirely earn.

Those who've been following this project are already well aware that Super 8 started as two different stories. Two stories that Abrams ultimately decided to combine. The primary story features outstanding newcomer Joel Courtney as a young man adjusting to a new life with his stern lawman father (played by Friday Night Lights' Kyle Chandler) after tragedy strikes in a small Ohio town circa 1979. While Courntey's Joe is out helping his eager buddies shoot a zombie film, a catastrophic train derailment introduces us to storyline number two. This particular storyline revolves around the mysterious cargo aboard the demolished train. Of the two combined plot threads, it is the human story that works best. The science fiction slant has its moments but its more of an excuse to get to the meat of the story. What Super 8 is really about is the sad disconnect shattering the bond between a parent and a child and what causes that disconnect. Its a painfully honest portrait of a father and son dealing with loss, and it rings completely true. I wish the inevitable re-connect at the end of the picture rang half as true.

There are plenty of other things going on here including a strained relationship between a young girl (played by Fanning) and her father (played by Ron Eldard), a military take-over, a government cover-up, a touching tale of young love, and--of course--an unforeseen force wreaking havoc on a sleepy little town. Again, Super 8 has all the ingredients that one might find in a magical 80's adventure film, only there are times when this picture has a hard time conjuring up magic of its own. Still, despite its flaws, I really enjoyed Super 8 overall and I think its because Courtney and Fanning are exceptional as the young leads and because Abrams is the consummate showman.

One of the more interesting aspects of the Super 8 is Abrams' refusal to show the creature. Not because he doesn't have the means but because he chooses not to. I admired his choice to pull back and this is but only one of his many nods to Jaws. Of course in the case of that Spielberg masterwork, the shark was seldom seen because the mechanical shark on set seldom worked. Abrams makes a conscious choice to show the numerous creature attacks in Super 8 through obstructed view or from the point of view of helpless victims. Rest assured though, the creature does show itself in the final act. What does the creature want? Well, the film goes into that a little bit, but it is far less interesting than one might expect, and the entire resolution involving the mysterious train cargo is somewhat rushed and under explained.

Abrams the director proves to be much more accomplished here than Abrams the screenwriter, particularly where the previously mentioned final act is concerned. The entire wrap up can't measure up to the wonderful set up and the inclusion of unnecessary characters (including a pot smoking hippie whose only real purpose in the picture is to remind us that it takes place in the 70's), a surprisingly lackluster and underwritten human antagonist (played by a usually dependable Noah Emmerich), and the inclusion of unnecessary language (including a strategically placed but completely gratuitous "F" bomb).

Abrams the director gets most of it right (with exception of going overboard on distracting flare shots and the inclusion of the Rubik's Cube--the famed toy was invented in 1974 but didn't hit the market until 1980--a year after this movie takes place). Nitpicky, I know, but I can't help it. Abrams is quite the film-making genius and I hold him at a pretty high standard. Beyond that, the look of the picture is gorgeous, the tone is perfect, Michael Giacchino's score is an unforgettable homage in of itself, and its a marvel to see a film-maker tell a big adventure film through character rather than bombarding the audience over the head with relentless special effects and explosions. And there's simply just so much to enjoy in the earnest, simplistic homage piece that is Super 8. Be it the film's depiction of that wonderful innocence of youth, the grand sense of adventure, or Abrams' keen look at the power of film-making itself (inspired not only by Spielberg's youth but his own). Its a fun time. And wait until you see the joyful, exuberant, amateurish film within a film (to get a look at it, be sure to stick around through the end credits).

Online columnist Devin Faraci (a writer whom I greatly admire) called Super 8 "cheap nostalgia porn", a label I find absolutely hilarious because there's nothing at all cheap (or derogatory) about nostalgia. Another online reviewer suggested that Super 8 is more Batteries Not Included than E.T. Not much of a blast to those of us who like Batteries Not Included (Its no E.T. but I still greatly enjoyed it--furthermore, I enjoyed Harry and the Hendersons as well). In the end, I'm first to admit that my expectations for Super 8 were a little too high (I've been anxiously awaiting the arrival of this picture since I heard about it nearly two years ago) and while this film has its share of frustrating flaws, I feel totally justified in saying that I liked it a lot (granted I wish I could say I loved it!). Is it worth seeing? Absolutely! And if its playing at an Imax theater in your neck of the woods, that's certainly the way to experience it.