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I had a plan to start this review with the words "everyone has their sins", but opening a text about "Super 8" with a typically blockbuster slogan seems to be a sin. Let us therefore overtake this quintessence of the lack of an idea for "every director has his sins" and take it as a starting point. If there is a special heaven for directors, then Uwe Boll certainly won't go there for film sodomy, neither Christopher Nolan for being the 21st century golden calf, nor George Lucas for Jar Jar Binks. Until recently, the above list was longer by at least one name - Abrams, who is guilty of numerous thefts of time for people who until the very end naively believed that in his series anything would ever be explained. Apparently, however, the director was afraid of deadly eternal fire and decided to follow the path of penance before the screaming crowd burned him at the stake of a reel of six years of hope. To this end, according to his faults, Abrams gives us time that has not been stolen, but has gone forever.

Or so it seemed to us. Whatever about "Super 8", this is an extraordinary movie. From the first minutes of the screening, a person starts looking around in search of Dr. Emmett Brown shouting "surprise!" Immediately afterwards, the viewer frantically begins to look in his pockets for a leaflet that he had stolen earlier at the checkout to make sure that the print shop did not make a mistake and wrote the opposite of who directed the film and who produced. However, before he can cast a few insults towards Abrams, who would be accused of stylish plagiarism of the great predecessor, he notices that the image served to him works on slightly different principles.

It is a bit like the embryo of James Cameron's "Avatar" - the director of "Super 8" makes a kind of avatarization; he does not become Steven Spielberg himself, but with the help of apparatus he transfers his mind to his body to act with his hands and improve the immortal work like Patrick Swayze and Demi Moore.

First of all, he is delighted with the naturalness and sense with which the director smuggles the unique atmosphere of the cinema of the eighties, enchanting the whole picture with breathtaking special effects, i.e. the most popular spice of modern cinema.

As a result, the aspect that usually steals the production of all the most important elements and comes to the fore, here is only a relish, the last note in the symphony, an element of the puzzle, without which the picture would simply not be complete. Fans of Abrams's creativity will not be disappointed either - the classic envelope of mystery accompanies the viewer throughout the screening, and the threads not fully explained only add to the animosity. These are not so out of context and hidden in strange places motifs as in "Cloverfield", but the atmosphere of uncertainty hangs in the air and has a personal character; to a certain point, it simply is and the viewer is intrigued by it, but with time, he only thinks about finding out the truth and finding out what's going on here. The seemingly unrelated to the production, the recipient slowly blends into the background of the events, feeling them as an integral part - just like fire does not care about the sky until it starts to rain.

A few holes and shortcomings appear deliberately committed, but the great acting of the young generation effectively draws their attention away from them, to a company with a well-drawn story that develops slowly enough to start making its own guesses, and at the same time quickly enough to make it bore us. The latter is largely ensured by accurate dialogues that are written in a very natural way, sparing excessive pathetism and sometimes sparkling with authentic, childish naivety.

"Super 8" is a tour led by Abrams, which shows visitors the best in the cinema. .