Super (Film) Streaming

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Super (Film) Streaming
Alle Titel TV-Folgen Prominente Unternehmen Stichwörter Erweiterte Suche
Vollständig unterstützt English (United States) Teilweise unterstützt Français (Canada) Français (France) Deutsch (Deutschland) हिंदी (भारत) Italiano (Italia) Português (Brasil) Español (España) Español (México)
After "The Boys," Watch These Supes Next
The role of Jacques was supposed to be played by Jean-Claude Van Damme up until a week before shooting began. Gunn said "the guy was kind of A.W.O.L. I just couldn't risk that personality type on this movie." Kevin Bacon stepped in as a last minute replacement.
After getting shot, Frank drives away and the shadow of the camera man is visible on the Crimson Bolt. The sun is on the other side (car has turned around) in the next shot in the car. Likewise, the camera's shadow is visible on the wall as the Crimson Bolt climbs over Jacques' fence.
The credits encourage viewers to "Follow Team Super on Twitter":
"@james_gunn - James Gunn
@tedhope - Ted Hope
@ambushent - Miranda Bailey
@rainnwilson - Rainn Wilson
@nathanfillion - Nathan Fillion" Twitter is also included in the 'Special Thanks' section.
Some of the more brutal scenes were removed for the television edits.
Speak Vernacular Written by James Gunn , Michael Meitner, James Lang, and Dino English Performed by The Icons Licensed by arrangement with Two Monkeys, a Goat, and Another, Dead, Monkey, Inc (BMI) Courtesy of Ancient Lizard Records
Starts like silly fun comedy, ends up quite dark
Starts like silly fun comedy about the guy trying to be a superhero, but it quickly becomes a gory (quite shocking at times) 90's action movie style parody, with a twist of bizarre psychological characters that seem funny but they're actually creepy most of the times.
Ellen Page steals the show with her crazy clowny character.
It has it's flaws, right, but it was certainly a pleasant surprise and an entertaining movie.
Definitely recommend it to indie movies lovers
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What is the Hindi language plot outline for Super - Shut Up, Crime! (2010)?
Who Are the 2022 Emmy Acting Nominees?
New & Upcoming Sequels, Prequels, and Spin-Offs
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Nachdem seine Frau unter den Einfluss eines Drogendealers fällt, verwandelt sich ein Alltagsmensch in Crimson Bolt, einen Superhelden mit den besten Absichten, aber ohne heldenhafte Fähigkei... Alles lesen Nachdem seine Frau unter den Einfluss eines Drogendealers fällt, verwandelt sich ein Alltagsmensch in Crimson Bolt, einen Superhelden mit den besten Absichten, aber ohne heldenhafte Fähigkeiten. Nachdem seine Frau unter den Einfluss eines Drogendealers fällt, verwandelt sich ein Alltagsmensch in Crimson Bolt, einen Superhelden mit den besten Absichten, aber ohne heldenhafte Fähigkeiten.
Jacques : What are you gonna do? you gonna execute me for my sins? Don't think you're better than me, you fucking psycho. You fucking almost killed people for butting into line.
Frank D'Arbo : [Interrupts] You don't butt in line! You don't sell drugs! You don't molest little children! You don't profit on the misery of others! The rules were set a long time ago. They don't change.
Jacques : You really think that killing me, stabbing me to death is gonna change the world?
Frank D'Arbo : I can't know that for sure... unless I try.

A group of young filmmakers in 1979 are immersed in a supernatural adventure after a train wreck unleashes an otherworldly creature.
Regie J.J. Abrams Hauptdarsteller Kyle Chandler , Elle Fanning , Joel Courtney Genre Science Fiction , Spannung , Action Untertitel English [CC] Wiedergabesprachen English
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Nebendarsteller Gabriel Basso , Noah Emmerich , Ron Eldard , Riley Griffiths , Ryan Lee , Mehr... Zach Mills Produzenten Steven Spielberg , J. J. Abrams , Bryan Burk , Guy Riedel Studio Paramount Pictures Bewertung PG-13 (für Kinder und Jugendliche unter 13 Jahren ungeeignet) Inhaltsempfehlung Alkoholkonsum , Schimpfwörter , sexuelle Inhalte , Rauchen , Drogenkonsum , Mehr... Gewalt Kaufrechte Direkt streamen Details Format Prime Video (Online-Video wird gestreamt) Geräte Kann auf unterstützten Geräten angesehen werden
johnf Am 29. März 2020 in den USA rezensiert
“Super 8” was made as a summer adventure/Sci-fi film in 2011, aimed at a young audience, and as such should be fairly free from controversy., but the opposite is true. People seem to be passionately either for or against the film in a way unthinkable in previous decades. Over time, science fiction films went from low budget affairs strictly for kids to gigantically budgeted films of much greater significance; from trivial fare to films that attracted serious critical attention. Add to this the problems that arise with great expectations. “Super 8” came with an impeccable pedigree: producer Steven Spielberg and writer and director J.J. Abrams, the equivalent of royalty in the world of science fiction films. Spielberg everyone knows, but in this case it’s important to know that he was personally very involved in the project and was frequently on set. J.J. Abrams was already a major writer and producer who came out of television hits like “Felicity”, “Alias” and “Lost” before directing the first two “Star Trek” reboots, “Mission Impossible III” and “Cloverfield”. (He has stumbled somewhat with the last two “Star Wars” films, but that’s a fanbase that is impossible to please). Still, with expectations as high as they were, there was a big chance of disappointment. The film is an intentional homage to classic Spielberg of the late 70’s through early 80’s and as such is practically perfect. There are many literal references to Spielberg’s films that I won’t give away, but if I say it’s about a group of typical American suburban teenagers in 1979 who get involved in a mystery that involves a space alien, I think you get the picture. But there’s more to it than that. If you were to go to the theater without any knowledge beforehand, you would think you were watching a Spielberg film. All The Spielberg tropes are there. The setting in suburbia or a suburb-like small town, a place considered too mundane by most other directors, which Spielberg used to show that magical things can happen in the most ordinary places. The teenage central characters, a specific link to “E.T.” (in some ways you could call this film a dark version of “E.T.”), and the fact that in most of his less-serious adventure films there is at least one teen in the primary cast. Of course there is the alien being present as well as government interest with the government people here being far more serious than in “E.T.”, more like “Close Encounters” where they also stage an evacuation on false premises. Oh, and the first movie he ever made, at age 12, was about a train wreck, using his model trains. The kids even make their own movies, much as Spielberg did in his youth with “Firefly” and “Amblin” among others. As a map shows, the town is just north of Cincinnati, where Spielberg was born (though his family moved around the country a few years later). Abrams, no doubt with excellent advice, even achieves the look of a Spielberg film with camerawork, lighting and color. At one point a car races along in the foreground with a big, “Close Encounters” starry sky above. The film is a real success in summoning up the world of Spielberg, especially in “E.T.” and “Close Encounters” but how is it on its own? It mostly succeeds, especially in its first two thirds. The kids are differentiated enough and the central group (of 8) interact like real kids with conflicts, in-jokes and working together. The central character, Joe Lamb, isn’t the one directing the home movie, and that’s a nice touch. He’s also a rather quiet, slightly introverted boy into making models and is played that way convincingly by Joel Courtney. The real standout is Elle Fanning (as Alice Dainard), whose acting beyond her years is absolutely astonishing. She jumped out of the screen at me in an early scene of the group making the movie at a local train station. Her acting was so far beyond any expectation and anyone else in the film, that I had to watch the scene again. The other kids are funny, their main role. The adults are adequate, but not much more than that. They each convey the role they are supposed to be, but that’s all. The writing is a bit hit or miss, though here you get into matters of personal taste. I thought there was too much of a soap operatic backstory to the Lamb and Dainard families. Their connections may have looked great on paper but the whole thing was unnecessary and a bit too distracting. The military man in charge was too much of a stock villain without any clear motive for being so. It was much more interesting that in “E.T.” the seemingly sinister government people, in the end, were only trying to help. The special effects are good, though gratuitous at times and require the audience to suspend disbelief a few times too many. A heavy, speeding train would just smash right through a small pickup truck and keep going, but it sets up a big scene that’s wonderfully executed. Later on the CGI gets a bit much and takes over for the entire problematic finale. The finale, at least a quarter of the film, almost drops all pretense of reality (yes, it is a movie, but still...) and is the part that causes much of the negativity toward the film. One always has to give any film a certain amount of wild coincidences and improbable happenings, but here they really pile up. When the alien is shown, late in the film, it’s a bit too much of a monster and not enough of a sentient being for me. No effort at all was made to explain how the alien Rubik’s cube-like technology worked; just a hint would have been fine. Let’s get back to the beginning. This was a summer movie made for a mostly young audience to enjoy. It totally succeeds in that for me. Yes, the ending is not up to the rest of the film and feels grafted on. But it’s a good film with a great atmosphere, and most people should really enjoy it.
Jeremy Snead Am 12. Juni 2011 in den USA rezensiert
As a kid who grew up in the late 70's and 80's watching films like ET, Jaws and Close Encounters I was destined to enjoy this movie. For me to say that Super 8 is a nostalgic and entertaining movie would be true. To say that Super 8 is a J.J. Abrams tribute to Spielbergian cinema would be partly true. Partly. There are so many parallels to story, characters, time period and genre that's it near impossible not to immediately start making connections to which Spielberg film is being referenced in any particular scene. That said, before I get into Spielbergia I must give J.J. Abrams his due as an original artist. Anyone who has watched American television the past decade knows Abrams can deliver solidly on story and character with series like Alias, Lost and Fringe under his belt. However, until now his feature film career has been rooted in existing properties like Mission Impossible III and the new Star Trek. Both highly entertaining and visceral films in my opinion. But with Super 8 being his first original screenplay for a feature film, in some ways this was uncharted territory for Abrams. But with someone like Spielberg as his collaborator and producer and Abrams litany of experience in film-making and storytelling its hard to imagine his first original feature being anything but what we would come to expect from him. Emotional, well plotted, well acted, funny and just plain entertaining. Now that we've gotten that out of the way lets get to the fun part - the Spielberg parallels! Here's the ones I spotted, in no particular order: 1. The "catalyst" into Act 2 is a spectacular train crash. Any coincidence that the 1st movie Spielberg remember's seeing as a child was 'The Greatest Show on Earth', which also contains one of the biggest train crashes in movie history? In fact, that train crash is said to be what inspired an 8 year Spielberg to shoot his first film; 2 toy trains crashing into each other (also as a way to get away with seeing his toy trains crash over and over without getting them taken away by his father.) Notice the discussion in Super 8 about filming the toy trains crashing into one another, which ultimately they do. 2. The obvious MILITARY parallel of Alien Life in Close Encounters being covered up by a staged viral outbreak that kills anyone or thing that breathes it causing town evacuation. This VS. the Military coverup of Alien Life in Super 8 being a staged grass fire that causes town evacuation. 3. In JAWS the scariest thing about the shark is the NOT seeing it. Same is true in Super 8, we don't fully see the monster until the film is almost finished. Builds suspense much more effectively. 3. Any coincidence the place that that the Alien in Super 8 makes his final takeoff into space from a water "tower". In Close Encounters the Alien Mothership arrives and takes off from Devil's "Tower", Wyoming. 4. The town hall meeting in Super 8 is very reminiscent of the town hall meeting in Close Encounters. All citizens EXCEPT the sheriff seem to be clueless and way off base about whats really going on. 5. The sound that the Alien makes is VERY similar to the sound of the T-Rex in Jurassic Park (as well as the sound of the dying truck in Spielberg's 1st feature 'Duel'.) 6. The main kid, Joe doesn't make good grades, as evidenced by him throwing his C+ papers aside when the Alice sees them (this could easily be a J.J. Abrams childhood connection too however.) 7. In ET & CLOSE ENCOUNTERS the alien makes a "psychic" connection of some kind with the people it interacts with. In ET its Elliott "feeling" what ET feels (i.e. classroom scene with frogs & Elliott getting drunk & Elliott getting sick when ET gets sick, etc.) In Close Encounters its Richard Dreyfuss and Melinda Dillon being obsessed with the image of Devil's Tower, which ultimately draws them to it. In Super 8 every human the Alien touches "sees" what the alien feels and has been through, thus sympathizing with it. 8. In ET a group of underdog kids led by Elliott "save the day" for ET. In THE GOONIES a group of underdog kids led by Mikey "save the day" for Mikey's families home which is about to be sold and bulldozed. Same here in Super 8 with Joe, the main kid taking one of the cubes which is close enough to the Water Tower to be drawn to it, thus creating a foundation for the Alien's ship to work from. Remember all the other cubes had been taken away by the government until the very end. And Joe is the one who tell the Alien to "GO" and that he understands and that bad things happen and its OK. This could be seen as the alien's motivation to leave. (my brother mentioned a parallel to 'Stand By Me' underdog kids, which is also true.) 9. Slight Spielbergian cinematography connections - 2: a. The way both the gas station attendant and the airfare bus driver are "pulled away" feet first screaming by the Alien is very similar to the first death in Jurassic Park, where the gatekeeper is "pulled away" feet first screaming by the Velociraptor. b. The side tracking dolly shots of the kids running through neighborhood "up and over" hills, fences, etc is very similar to side tracking dolly shots in ET of kids riding their bikes through neighborhood "up and over" hills, fences, etc trying to get ET to the forrest. 10. And here are a random sampling of other various connections I saw to Spielbergian cinema - the use of smoke and light, the conversational cadence of the kids interrupting each other & using cuss words poorly, loss of a parent, military being overly "big brother" in hiding alien, tracking and dolly shots, overhead shot of bus. I could go on and on. Without question Super 8 has a multitude of connections and parallels to Steven Spielberg films but it is also good to keep in mind that good story elements are good story elements no matter when, where or who they are used by. Many times the good ones pop up over and over again, precisely for that reason, because they work. Overlap to previous archetypes or story mythologies is inevitable because the ones we like are the ones we like, whether they are set in space or in the old west. Good storytellers are drawn to these same archetypal stories, they just flavor them differently each generation. In summation, all of these parallels could simply be a MASTER STUDENT (Abrams) following his MASTER TEACHER (Spielberg) with such skill that it comes off as an omage, which it very well may be and does not keep it from being a truly original work. BONUS! #. Not a Spielberg omage but the name of the gas station KELVIN is the 2nd reference J.J. Abrams has made to his grandfather in a feature film, the 1st being the name of one of the spaceships in Star Trek (the "U.S.S. Kelvin") And of course all LOST fans know Kelvin is the name of the guy that was in the Swan Hatch before Desmond. #. Also not a Spielberg parallel, but the kids zombie file "The Case" pays omega to George A. Romero, the godfather of zombie films by naming the chemical plant 'Romero Chemicals'. Loved that.
Amazon Customer Am 31. August 2022 in den USA rezensiert
I missed this at the theater, but that's ok because I had some popcorn and large coke on hand when I watched this. "Super 8" is one of Spielberg's movies that has for some time gone mostly unnoticed. Although J.J. Abrams wrote and directed this movie, you can see Spielberg's finger prints all over it. It stars are mostly unknown kid actors with the exception of Elle Fanning ( who is just fabulous ) and an early acting part by the now underrated Kyle Chandler, as the deputy sheriff father. And lets not forget a great turn by Ron Eldard as the drunk father of Elle Fanning's character. Won't go into the entire plot, but suffice enough to say it is a great "alien/ET" with a bad attitude kind of flick. Get this 4K version, which I thought was quiet good.
S. Morales Am 14. Januar 2012 in den USA rezensiert
A vastly overrated outing from both overrated director J.J. Abrams and has-been Steven Spielberg, this film has gotten about 95% of its success on those two names alone. Therefore, for the sake of a non-bias review for yourself, simply forget (as hard as it may be for the average American), FORGET that this movie has any connection whatsoever with J.J. and Ol' Steve. Take the film for its own right, and you'll see that this is perhaps the most overrated film of 2011. If you remember the teaser trailers leading up to its release, you'd say they were vastly vague, and revealed almost nothing except for creepy music and a lot of darkness. There is a reason for this, it was an attempt to create a buzz for this film because the filmmakers knew they had nothing to really work with. Any other type of trailer would've simply revealed every details about the movie in a matter of 2 minutes. Because, honestly, that's all the time you need to reveal every plot device this film actually offers. The film stars a group of no-name teenage actors who are growing up in the late 1970's, they all are in the middle of creating a low-budget zombie film when a train station scene changes their lives (at least for a few days), when they witness and come head on with a giant train crash, holding an alien that the military is trying to keep under wraps. The teens escape with this knowledge and are then pursued by said military... the film basically delves into a continuous desperate attempt to try and create characters who we really never end up truly caring about, and a plot that drones on, stretching for suspense but never achieving any of it. Later on after a semi-climactic (not really) final scene, the aliens escape and w
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