'The Invasion': Oliver Hirschbiegel's take on Jack Finney's classic story is subtly political, commenting ever so slyly on the apathy and indifference - and the lack of empathy and compassion - that have taken over since 9/11, as well as the sense of enti
The latest and lamest version of Invasion of the Body Snatchers might have been an accidental camp classic if its politics weren't so abhorrent and the movie didn't try to hide its ineptitude behind a veil of pomposity.
We'll have to wait until the inevitable director's cut DVD to find out what Hirschbiegel really wanted to say. It would have to be a whole lot more interesting than this accidental agit-prop, which equates pacifism with mindlessness.
There have been two official remakes of Invasion, and both tapped into the original's fear and dread of a society subverted by the others. This one taps only into that part of the brain that shuts down when confronted with witless tedium.
[It] may not be a patch on the original, but it does have a few things the other versions lack: a nonstop lurching pace propelled by jump cuts and flash-forwards, Nicole Kidman as the hero... and a bitter kind of satiric irony leaking around the edges.
If the first three movies served as parables for their times, this one keeps shooting off parable rockets that fizzle out. How many references in the same movie can you have to the war in Iraq and not say anything about it?
Still effectively creepy and surprisingly unnerving despite the occasional misstep and rumors of a troubled production, the new film illustrates why and how the power of the original story remains undiminished more than half a century after its creation.
Given its shiny surfaces, nouveau-chic grittiness and button-pushing sentimentality, this version feels as if it were made by the kind of beings the first three Body Snatchers movies warned us against.