Jaws

It’s a shark we all know, with music we’ve been singing to scare our friends at the beach for decades. Jaws, one of Steven Spielberg’s greatest creations, centers around a simple premise: a shark is killing people and everyone is scared. When a girl is killed right at the beginning of the summer season in a small beach town named Amity, the town and its mayor try to keep everything running as smoothly as possible before 4^th of July weekend, fearing lack of business for their biggest event of the year. When more people are killed, the new Sheriff Brody is forced to work with an Oceanographer and local fisherman to hunt down the Great White.

The score to Jaws is arguably one of the film’s greatest and most well known components. The “dun-dun” created by John Williams has lived on in infamy even after the film’s release almost 40 years ago. The sparse, fear-inducing music ultimately aids the fear factor of the few and far between viewings of the shark that was not originally intended for the film. Due to mechanical errors with the prop shark, they had to limit its use on screen which turned out to be one of the best things that could have happened. Even though Spielberg was almost fired during the process, he ultimately used these disadvantages to his advantage in creating a tone of fear and suspense that would have been lost with increased use of the shark. Spielberg’s use of the “Vertigo zoom” and POV shots following the main characters is crucial and only adds to the drama and personal connection to the story of Brody and his ship mates.

Jaws could have turned out to be a cheesy, campy attempt at a summer blockbuster, yet Spielberg, as his first feature film, turned it into one of the most famous film is history. Tracking and killing a Great White on a rampage in a small town is a simple premise, yet with use of interesting camera shots and suspenseful music, Spielberg took negative circumstances and turned it into one of the classics and top-notch work we expect from him today. Even though Jaws is almost 40 years old, it still scares the pants off any beach-goer, and that, is an effective film. 

Looper

In the Year 2044 time travel has not yet been invented, but will be by 2074. An elite group of killers, knows as Loopers, work for the mob by killing people they send back in time from the not-so-distant future. All is going well for Joe (Joseph Gordon-Levitt) until his “loop” (himself from the future the mob sends back to end his contract) escapes with his own agenda. From there we enter a race against time for Joe to find his loop (Bruce Willis) who intends on seeking out the head hauncho of the mob from 2074, to exact revenge.

Writer-director Rian Johnson is one of the most articulate story tellers in recent years. With only two major films to his name other than Looper, Brick and The Brothers Bloom, his forte lies in creating the unexpected, with some intricate and unexpected plot lines. Looper is no exception to this and really takes you for a spin for what you think the actual plot of the movie is. About half way through, the focus shifts from the heavily advertised one of time-travel, to a story of revenge and of a mother desperately trying to keep her son safe, while also hiding a game-changing secret. The shift occurs in a progressive way, of that of an intricate or multi-processed story, and ultimately benefits the overall message. Gordon-Levitt, who previously worked with Johnson on 2005’s Brick, has a great connection with the character, and also his future self played by Bruce Willis. The two, along with great prosthetics from the make-up department, create such tension and conflict with each other that is great to see side-by-side. Johnson also includes some incredible camera work that completely enthralls you in the story. Nothing he does is to make a big show, but to display this strange story as interestingly as possible. The score for the film, composed by Johnson’s brother Nathan, works perfectly with the heavy tone of the film and creates scenes full of tension and immediacy, complementing the grim future displayed.

A major stepping stone in Johnson’s career, Looper displays the best of his storytelling abilities. He utilizes this complex plot to his advantage, creating a believable future with flow and progression. He creates his vision with harsh visuals and elements displaying a bleak future, oh, and did I mention telekinesis? Overall, the acting and visuals are top notch, the kid is creepy yet scared and innocent, and Joseph Gordon-Levitt, Emily Blunt and Bruce Willis? Their dynamic alone (and her accent) is worth seeing.  

(500) Days of Summer

Not just your average rom-com, (500) Days of Summer ads an imaginative new touch to the very familiar story of boy-meets-girl. It follows the story of Tom (Joseph Gordon-Levitt) and Summer (Zooey Deschanel) in their non chronological romance. Right off the bat we are told this is not a love story, yet everything in our viewing history and perceived direction of the movie would suggest otherwise. (500) Days presents the relationship between Tom and Summer through Tom’s eyes who at first refuses to see things as they are, only as he wants them to be. Gradually, we receive his whole sad story, but with some confusion along the way.

        The exceptional focus for the film, and what makes (500) Days work so well, is most importantly the editing. The cuts all throughout their relationship, from day 1 all the way to 500, are what allows us to see the story laid out like memories from the main character we’re supposed to be connecting with. Having the pieces slowly fall together, as opposed to simply laying out in front of us, is what makes the story so fresh and compelling. In addition to this is the fantastic dynamic between Deschanel and Gordon-Levitt, who bring their characters to life in a way no other pairing could have. The soundtrack is another element that aids the film very fantastically.  It ranges from subtle tonal creations to an entire song and dance number to Hall and Oats’ “You Make My Dreams”. It works just as a soundtrack should, subtly creating the backdrop for their relationship, yet being noticeable enough to parallel the emotions on screen. Songs like Regina Spektor’s “Hero” are haunting and is essential in portraying the bleak reality that we always hope will live up to our own impossible expectations on life.

        Director Mark Webb, previously a music video director, makes his film debut with a memorable and wonderful off-beat comedy that highlights the aspects of life we don’t always want to remember in the movies: sometimes things don’t go as we expect them to. Utilizing harsh, juxtaposing cuts, montages, split screen life comparisons, and in-film documentaries, Webb creates a world centered around the two characters that is as interesting as their twisted relationship. The visual dynamic between the characters is constantly changing and out of order, one that is happy in one instant, and devastating in the next, yet always manages to envelop and display these emotions exactly. (500) Days of Summer captures the essence of dysfunctional and blissful relationships alike, while being witty and humorous, and a refreshing take on a story we thought we all knew. 

Super 8

Super 8 (2011), written and directed by J.J. Abrams, is nothing short of Spielberg for a new generation. Set in the summer of 1979, Super 8 follows the story of a group of middle school friends caught up in a government investigation/ mystery when they witness a train crash while making a movie. As people in the town of Lillian, Ohio start to disappear, the kids follow the strange occurrences while Joe’s father, Deputy Lamb, is hot on the tail of the Air Force trying to keep whatever was in the train a secret. A surprisingly heartwarming movie in the end, Super 8 manages to combine trademark J.J. Abrams science fiction and coming-of-age elements with just the right amount of nostalgia and emotional draw to really hook you in.

Overall, Abrams utilizes many of his trademark features in this late 70s adventure to make it feel real, while also creating a sense of nostalgia. The setting is perfect utilized; a small town community, Super 8 cameras, walkie-talkies, and expressions such as, “that was so mint!” creates nostalgia of childhood without creating a huge generational gap for the audience (well, some of us anyway.) Abrams’ signature lens flare adds to the overall tone of the film, just a little something extra to the otherwise potentially bland backdrop of the 70s. Coupled with some sweeping jib and rising aerial shots, the cinematography was perfect for the suspense as well as personal connection to the story. The score by Michael Giacchino, however, is what really creates the tone for the film, and sets it apart from many others. It aids in the mystery and emotional timing so seamlessly, yet also stands out so beautifully all on its own.

At times the plot seems basic and recognizable, but Abrams created it as a homage to Spielberg; elements reminiscent of Close Encounters of the Third Kind, and E.T. One of wonder, excitement, and emotion. Especially with Spielberg as a producer, these similarities are impossible to ignore, but taken separately, don’t detract from the film as a whole. It captures the imaginative spirit of youth that made E.T. so intriguing, while also including some of the most subtle and realistically hilarious portrayals of middle schoolers I've ever seen. Ultimately about the inescapable truths of life, loss and acceptance, Super 8 takes the best of its Spielberg-ian predecessors to create a beautifully fun and well developed take on sci-fi in small town America.