In much the same way Steven Spielberg and George Lucas drew from old TV adventure serials when making the Indiana Jones and Star Wars sagas, LOST creator JJ Abrams has created an original property that is steeped in the nostalgia of his youth – specifically films like JAWS, CLOSE ENCOUNTERS OF THE THIRD KIND, E.T., THE GOONIES and STAND BY ME.

On the surface, SUPER 8 is pure fantasy. A group of young friends making a no-budget horror movie witness a devastating train crash, from which an unspeakable menace escapes and begins terrorizing the local community. As the military attempts to cover it up and the adults look for someone to blame, Joe (Joel Courtney) and his friends investigate why the train was deliberately derailed and what exactly escaped from it. From its spectacular opening set piece, SUPER 8 builds steadily to an impressive final confrontation through carefully considered character development and slow-building tension.

Ultimately, SUPER 8 seems less interested in its extra-terrestrial antagonist than in its adolescent protagonist, Joe, and how this summer proves to be his coming-of-age. Recently beset by the tragedy of his mother’s death and his father’s inability to cope, the train crash is more symbolic as the derailing of Joe’s childhood innocence. His wild, unrecognizable anger and as-yet unidentified masculinity burst onto the scene, where he must contend with the frightening hostilities of Man’s competitive and aggressive world. It is no coincidence that the train crash occurs on the same night he first meets the beautiful Alice (Elle Fanning), and while the creature may appear dangerous, violent and unpredictable, Joe must confront it if he is ever to evolve, get the girl and, literally as it turns out, let his mother go.

While the effects work is top drawer throughout, the film could otherwise pass as being a product of the 80s thanks to the spot-on performances by the young cast and Abrams’ pitch-perfect handling of mood, tone and setting. Some critics have claimed he tries too hard to emulate his mentor, but Abrams’ own trademarks of teasing mystery and strong character work prevail. Sadly his frustrating predilection for lens flare often mars the film’s otherwise beautiful aesthetics and perhaps Spielberg should have had a quiet word – although his love of random smoke & light is also well documented.

These are small criticisms, however, as SUPER 8 is a cinematic delight that should have the 30-40 somethings misty-eyed for their youth, when we had to make our own fun in an age before the Internet and videogames. In fact, SUPER 8’s biggest box office threat is likely to be its own originality, as it must compete in another summer crammed with sequels and superheroes. Here’s hoping the more cautious movie-goers take a gamble on SUPER 8, as it delivers the kind of intelligent fantasy adventure, grounded with genuine emotional resonance, that can capture the imaginations of an audience in a way Hollywood has all but discarded.