Local opening date: 8/17/2007
Reviewed by Diane Carson
often reveals deep-seated anxieties about their social moment. Director Don
Siegel's original 1956 Invasion of the
Body Snatchers provided a commentary on the acute fear of Communism's
mind-numbing control. Philip Kaufman's 1978 remake attacked that era's
conformity-minded, blasé American citizens. Today addressing threatening
pandemics or numerous current conflicts should offer a tantalizing hook for The Invasion, the latest adaptation of
Jack Finney's novel
current version, that had several directors working on it, ignores potential
ideas in favor of senseless chases and cheap horror film tricks. Moreover, it
absolutely squanders a terrific cast of Nicole Kidman, Daniel Craig and Rupert
Everett, who spend very little time in anything approaching dynamic, complex
interaction. They seem to have found their own pod performance mode that makes
it difficult to engage with them. The problems don't end there.
Kidman plays Washington, D.C.
psychiatrist Carol Bennell, Craig is friend Ben Driscoll, and Everett is loathed ex-husband Tucker.
Stooping to the lowest common denominator for eliciting sympathy, Carol's son
Oliver is the child in peril. He
commands the overwhelming share of Carol's hysteria and attention. Add to this
cliché chases with running and hiding, squealing tires and menacing subways.
Periodically, sprinkle in CSI-type graphics of terrifying mutant cells as this
life-altering alien intruder infects victims through unappealing spewing from
one person to the next. And why?
together, the story flounders beginning with a flashback. I've often argued
that ill-conceived flashbacks give away too much too soon-after all, we know
where we'll end up and with whom, robbing the story of momentum or suspense.
Occasional jittery editing, flash frames, and pounding music try to develop the
jolts lacking because of weak idea and character development. Too late in the
film, a grandstand speech announces what could have been the nexus of exciting
debate-what do we sacrifice for our emotional indulgence? Well, that's another
film. The Invasion does have a
thrilling car chase, some good looking framing, and some effective art
direction-note especially the orange and reds in the psychiatrist's office. But
as sci-fi, it's a botched opportunity to update a classic story. At area
ALASH are masters of Tuvan throat singing (xöömei), a remarkable technique for singing multiple pitches at the same time. What distinguishes this gifted trio from earlier generations of Tuvan throat singers is the subtle...
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