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"Do not trust
anyone. Do not show
emotion. Do not fall
asleep." |
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Directed by Oliver
Hirschbiegel - Written
by Dave Kajganich
Starring Nicole Kidman,
Daniel Craig, Jeremy
Northam, Malin Akerman
Distributed by Warner
Bros. Pictures -
2007 - 93m - Rated PG13 |
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Richard Propes'
Review
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C- |
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Having been unfortunate enough to view an early trailer for "The
Invasion," my previously high expectations for this latest
revisiting of Jack Finney's novel, "The Body Snatchers," plummeted
to the point that I began to wonder if "The Invasion" might bring
forth a Nicole Kidman performance similar to the campfest known as
"The Stepford Wives." |
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While "The Invasion"
works on a far greater level than "The Stepford Wives," my fears
weren't entirely unfounded.
"The Invasion" is a jarringly inconsistent film, mostly owing to the
ill-advised decision to blend director Oliver Hirschbiegel's
original print, which tested poorly, with a few re-shot, more
commercialized and techno-centered scenes written by the Wachowski
brothers and their hand-picked director James McTeigue. The end
result ends up feeling a bit like what would happen if we suddenly
combined the original "War of the Worlds" with the Spielberg
version.
It ain't pretty, folks.
In "The Invasion," Nicole Kidman plays Carol Bennell, a divorced
psychiatrist who's experiencing tremendous anxiety while separated
from her son, Oliver (Jackson Bond), while he's off visiting his
father (Jeremy Northam).
"The Invasion" starts off wonderfully, providing me with false hopes
that, just perhaps, the trailer I'd viewed would be simply a poorly
shot trailer and no indicator at all of the remarkable film I was
about to see.
Oh well. So much for that idea.
Quickly, we learn that the father, Tucker, has been taken over by an
alien species and is hellbent on a mass conversion of the human
population.
Basically, the entire film centers around Carol's efforts to find
her son, protect her son and avoid sleep (the primary way in which
the "infection" gets spread). Joined by her platonic friend Ben
(Daniel Craig), Carol mostly does what we already know Kidman does
well...looks pensive.
While one certainly can't fault a studio's decision to re-work
scenes on the basis of test screenings, it's complete and utter
stupidity to vacillate between the darker, moodier Hirschbiegel
("Downfall") stylings to the over-the-top, moodless workings of the
Wachowski's/McTeigue. To top it off, the editing is done so poorly
that it's almost more entertaining than the film itself to sit there
trying to guess "Wachowski/McTeigue scene" or "Hirschbiegel" scene.
While "The Invasion" moves along at a nice enough clip, the ending
(a Wachowski/McTeigue scene, no doubt) is dishearteningly
unsatisfying and frustratingly cliché.
It's no secret that Finney's novel was, at least subliminally, a
political novel with anti-communism undertones. In "The Invasion,"
the political tone is so completely over-the-top that I was
half-surprised we didn't have a scene of George W. Bush riding in
declaring victory over the evildoers.
I exaggerate...a bit. But, not really.
While Kidman's performance here is infinitely more satisfying than
that in "The Stepford Wives," it pales in comparison to her finest
work in films such as "Dogville," "The Hours" and "Moulin Rouge."
She's essentially called upon to be beautiful and protective and
seldom does her performance rise above these two attributes.
Likewise, Craig, who accepted this role before his fine work in
"Infamous" and "Casino Royale," must be lowering his head in shame
for following up such incredible work with such a vacant performance
here.
With its slipshod directing styles, bland performances, inconsistent
script and widely varying production design, it's a safe bet that
"The Invasion" will be invading local video stores in the not so
distant future.
Nicole Kidman fights "The Invasion". |
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© Written by Richard Propes -
Email Me! |
TC Candler's Comment
I was
terrified by the 1956 original. I was
chilled to the bone by the 1978 remake.
Now, I have been consumed by the 2007
adaptation, starring the always dependable
Nicole Kidman. Despite conceding that the
original is the gold standard version, I must
say that I've really liked them all. The
story is a such a strong one, understated and
layered, terrifying and relevant -- it never
fails to win me over.
I really
appreciated the choice of a female lead in this
film... It adds another dimension, especially
when her son is added to the equation. To
have one of the world's greatest actresses sign
on for the part only adds to my appreciation.
Very few actors, of either sex, can portray
restrained terror quite like Kidman. She
has a fragility that truly lends itself to this
role.
The film
seems to crackle from the first scene to the
last -- never relenting with the ominous cloud
that descends on this fictional humanity.
I was hooked within five minutes and couldn't
peel my eyes from the screen until I saw the
film out.
I greatly
admire director, Oliver Hirschbiegel's control
of style, mood and escalating tension. His
mastery of lighting and framing adds a dimension
that the '56 and '78 versions lacked to some
degree.
Nicole Kidman
reading IndependentCritics.com reviews of her
movies.
Unfortunately, there appears to have been some
intervention by the morons who brought you the
"Matrix" series. The Wachowski brothers
teamed up with James McTeigue to re-shoot parts
of the film -- undoubtedly to spruce it up for a
younger "modern" audience -- because they didn't
like the original cut that Hirshbiegel submitted
to the studio. One gets the overwhelming
notion that the film would have been far better
had the original cut been released. It may
have even challenged the 1956 version.
I absolutely
loathe studios coming in and destroying a
director's vision. Why did they hire him
in the first place if they didn't want to trust
him all the way to the silver screen? It
is an abomination -- tantamount to museum
directors hiring a Playboy cartoonist to add
cleavage to the Mona Lisa.
I was also
slightly underwhelmed by the ending -- another
decision that seems to have been taken from the
director. I am sure you can guess what
they have done, but I won't divulge the weak
choice in this review.
Nevertheless,
I was riveted by the classic story. I was
completely engaged by Kidman's effort.
This one ranks along side the Donald Sutherland
version in terms of its effectiveness --
although it is far more stylish and cinematic
than that thirty year-old flick. Nothing
beats the original, but Kidman's pic is well
worth the price of admission and definitely
ranks as one of the better thrillers of 2007.
I implore the
studio to release the director's cut on DVD.
I am sure it will be a better film -- perhaps
lifting my grade into the A-range. Oliver
Hirshbiegel deserves that respect. The
audience deserves the artist's vision, untouched
by the money-hungry execs who only care about
the lucrative teenage boy market.
Jacob Hall's
Comment
n/a
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