list http://www.spout.com/ Recent community activity around The Invasion on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/The_Invasion/267828/default.aspx Title: The Invasion
Year: 2007
Director: Oliver Hirschbiegel
Plot: A mysterious, mind-altering epidemic has infected mankind, and when a Washington, D.C. psychiatrist discovers that the outbreak seems to be extraterrestrial in origin, she struggles to save her son from infection in this sci-fi thriller starring Nicole Kidman and Daniel Craig, and directed by Oliver Hirschbiegel (Das Experiment). The space shuttle has crashed, and investigators assigned to explore the wreckage have found something unimaginable in the debris - something from the deepest reaches of outer space. Everyone who comes into contact with it soon begins to transform in ways that can't be explained by modern science. While their physical appearance remains completely unaltered, their emotions seem to be drained and their actions become strangely inhuman. The only people who know the truth about this extraterrestrial epidemic are Washington, D.C. psychiatrist Carol Bennell (Kidman) and her longtime friend Dr. Ben Driscoll (Craig). It seems that the alien virus attacks people in their sleep, and by the time they awaken the transformation has already taken place. The contagion is spreading rapidly, and as more people fall victims to its eerie effects by the hour it becomes impossible to differentiate the infected from those who can still be trusted. When Carol realizes that her young son may hold the only hope for saving the human race, she struggles to remain awake long enough to find the boy and prevent planet Earth from becoming host to a terrifying new breed of extraterrestrials. Based on the book The Body Snatchers by Jack Finney, The Invasion was written by David Kajganich and co-stars Jeffery Wright and Jeremy Northam. ~ Jason Buchanan, All Movie Guide
Times Tagged: 9
Number of Lists: 7
Number of blog posts: 6
SpoutRating: 2
]]>Sat, 28 Mar 2009 03:10:14 GMTThe Invasion2007Oliver HirschbiegelA mysterious, mind-altering epidemic has infected mankind, and when a Washington, D.C. psychiatrist discovers that the outbreak seems to be extraterrestrial in origin, she struggles to save her son from infection in this sci-fi thriller starring <a href="/players/P____38065/default.aspx" style='text-decoration:underline'>Nicole Kidman</a> and <a href="/players/P____15549/default.aspx" style='text-decoration:underline'>Daniel Craig</a>, and directed by Oliver Hirschbiegel (<a href=/films/195238/default.aspx style='text-decoration:underline'>Das Experiment</a>). The space shuttle has crashed, and investigators assigned to explore the wreckage have found something unimaginable in the debris - something from the deepest reaches of outer space. Everyone who comes into contact with it soon begins to transform in ways that can't be explained by modern science. While their physical appearance remains completely unaltered, their emotions seem to be drained and their actions become strangely inhuman. The only people who know the truth about this extraterrestrial epidemic are Washington, D.C. psychiatrist Carol Bennell (Kidman) and her longtime friend Dr. Ben Driscoll (Craig). It seems that the alien virus attacks people in their sleep, and by the time they awaken the transformation has already taken place. The contagion is spreading rapidly, and as more people fall victims to its eerie effects by the hour it becomes impossible to differentiate the infected from those who can still be trusted. When Carol realizes that her young son may hold the only hope for saving the human race, she struggles to remain awake long enough to find the boy and prevent planet Earth from becoming host to a terrifying new breed of extraterrestrials. Based on the book The Body Snatchers by Jack Finney, The Invasion was written by David Kajganich and co-stars Jeffery Wright and <a href="/players/P___200549/default.aspx" style='text-decoration:underline'>Jeremy Northam</a>. ~ Jason Buchanan, All Movie Guide9Taggedy Taggged (6-10)762http://www.spout.com/ProductImages/s267828.jpghttp://www.spout.com/films/The_Invasion/267828/default.aspxFilm http://www.spout.com/blogs/jj79/archive/2008/6/6/30777.aspx Post By: JJ79
Post To: JJ79 Blog
Post Date: 6/6/2008 4:35:59 PM
Body: So, a remake (2007) of a remake (1993) of a remake (1978) of a film (1956) based on a piece of literature (1954). Not too shabby, I must say, especially considering that the aspect of the original--film, at least--most people remember is the laughably cheese-tastic term "pod people." Seriously, how many other works have been through this many permutations without delving into idiocy? Maybe Arthur Conan Doyle´s "The Lost World?" Some of the superheroes we all know? But to survive over 50 years and spawn four movies? That´s something to be proud of. The space shuttle Patriot falls from the sky in an unscheduled trip back to Earth. With pieces of the vessel strewn from Washington, D.C., to Dallas, Texas, investigators scramble to figure out what happened. For Washington psychiatrist Carol Bennell (Nicole Kidman), it´s just another day of dealing with abusive spouses and her own fractured family. But when reports start coming in from around the world of a disease affecting people everywhere, she and a small group of unaffected people deduce something more than the flu is happening. In order to find a cure, Bennell must find the one person she knows who has a possible immunization. Like the Spielberg remake of "War of the Worlds" from a few years ago, "The Invasion" has one massive negative against it before the first reel unspools: it is being compared to earlier versions and to general public perception. How can it not be? The same problems faced the re-imagined versions of "Battlestar Galactica" and "Flash Gordon." The trick is to adhere close enough to the source material without being slavishly devoted to it. Give the situation a unique spin, look at it from a new perspective. Anything to get the audience interested again. And what "The Invasion" has come up with is using the current political landscape of the world as a road map for the film. Throughout the picture, references to Iraq and Darfur, President Chavez (Venezuela…get with the news), AIDS and anything else we can find in a newspaper today is thrown in. The idea--and this is where the movie will lose most of the potential audience--is that civilization crumbles when we need it the most. That humans are capable of truly horrible things. And just how worried about "status" Americans are when compared to others around the world. It´s not enough to have a Russian ambassador joke that Russian boots are no longer made in Russia (they´re made in China, in case you´re wondering). No, Bennell must engage the man in conversation about the role of people in a society and what that society owes to its members. We hear and, for the most part, understand the words being uttered even though they feel like just that: only words. For as many roles as Nicole Kidman can play persuasively, there are some she can´t. She can do Virginia Wolff, or an English mother stuck in a haunted home-- hell, even a maiden during the Civil War. But she continually strikes out as a doctor of any kind (see "The Peacekeeper"). There´s something in her delivery of weighty subjects we just don´t believe. Postmodern feminist that she is, the good doctor allows a patient who is terrified of her husband to go back to him. And there´s no way in the world we can buy Kidman as an action star. To make matters even worse, she can´t stay in her southern-ish accent for any prolonged period of time. It comes and goes from scene to scene--sometimes inside the same scene. There is no logical reason for her to talk like she´s from "Cold Mountain" and then switch to "Days of Thunder." Except, of course, if no one was paying attention. The actual body of the film--the quest tale, essentially--works just fine. It doesn´t try to make too much sense either in the context of the movie or in any real-world situation. There´s some medical babble between Kidman and onscreen paramour Daniel Craig (playing one of the most unconvincing medical doctors committed to film) about who can be immune to the virus. Chicken pox comes up somewhere in the conversation, a list of drugs, some acronym which stands for something the government of the United States can´t pin down, yet James Bond and the ex-Mrs. Tom Cruise can put together in three minutes. Yeah, okay. And that´s one of the reasons it works: from the crash of Patriot, we´re told to sit back, be quiet and don´t ask any questions. Like how do the people on the metro know to tell Carol what to do? (They can´t possibly all see she is sweating.) Why doesn´t she stock up on weapons at any opportunity? Why break up a group of four survivors, allowing Ben (Craig) to go off on his own little adventure we never get to see? Why make the US government out to be a bunch of idiots? And why, for the love of good storytelling, lurch into an epilogue without filling in the rest of the story? I´ve done little else but rail against "The Invasion" from the very beginning of this review. I may be painting the wrong picture. It´s not blowing anyone´s socks off nor is it reinventing the genre. What it turns out to be is enjoyable. A diversion that wants us to think--just not too hard because we´d out-think the plot, I suspect. The premise seems psychologically sound on the surface: take away human emotions and we will live as one, without wars and hate, anger and bigotry. The aliens, for lack of a better word, aren´t necessarily evil; they want to help. But they do it in the complete wrong way. Much has been made about "The Invasion" being delayed for a year, reshoots, new writers and director and on-set accidents. If there is another version out there-and I strongly suspect there is-it should be seen (much like the two versions of "Dominion: Prequel to the Exorcist"). This is the action oriented story; where is the more cerebral one in which there are lengthy discussions about the nature of emotions? Some of the pieces of that film are evident--Carol´s profession, the relatively minor role her ex-husband plays, scenes at a military base and mentions of the president, for example. "The Invasion" isn´t a rock ´em, sock ´em action spectacle like typical summer blockbusters. It dares us, on some level, to think. Again, not too hard or too deeply . . . just enough to scratch the surface, to get our own problem solving juices flowing. If we take emotion out of the equation, what kind of world would we live in? The film rates a 5.5--certainly not a disaster, but ultimately disappointing because there is a more meaningful plot just under the surface. No one knew how to find it.
]]>Fri, 06 Jun 2008 20:35:59 GMTJJ79JJ79 Blog6/6/2008 4:35:59 PMSo, a remake (2007) of a remake (1993) of a remake (1978) of a film (1956) based on a piece of literature (1954). Not too shabby, I must say, especially considering that the aspect of the original--film, at least--most people remember is the laughably cheese-tastic term "pod people." Seriously, how many other works have been through this many permutations without delving into idiocy? Maybe Arthur Conan Doyle&acute;s "The Lost World?" Some of the superheroes we all know? But to survive over 50 years and spawn four movies? That&acute;s something to be proud of. The space shuttle Patriot falls from the sky in an unscheduled trip back to Earth. With pieces of the vessel strewn from Washington, D.C., to Dallas, Texas, investigators scramble to figure out what happened. For Washington psychiatrist Carol Bennell (Nicole Kidman), it&acute;s just another day of dealing with abusive spouses and her own fractured family. But when reports start coming in from around the world of a disease affecting people everywhere, she and a small group of unaffected people deduce something more than the flu is happening. In order to find a cure, Bennell must find the one person she knows who has a possible immunization. Like the Spielberg remake of "War of the Worlds" from a few years ago, "The Invasion" has one massive negative against it before the first reel unspools: it is being compared to earlier versions and to general public perception. How can it not be? The same problems faced the re-imagined versions of "Battlestar Galactica" and "Flash Gordon." The trick is to adhere close enough to the source material without being slavishly devoted to it. Give the situation a unique spin, look at it from a new perspective. Anything to get the audience interested again. And what "The Invasion" has come up with is using the current political landscape of the world as a road map for the film. Throughout the picture, references to Iraq and Darfur, President Chavez (Venezuela&hellip;get with the news), AIDS and anything else we can find in a newspaper today is thrown in. The idea--and this is where the movie will lose most of the potential audience--is that civilization crumbles when we need it the most. That humans are capable of truly horrible things. And just how worried about "status" Americans are when compared to others around the world. It&acute;s not enough to have a Russian ambassador joke that Russian boots are no longer made in Russia (they&acute;re made in China, in case you&acute;re wondering). No, Bennell must engage the man in conversation about the role of people in a society and what that society owes to its members. We hear and, for the most part, understand the words being uttered even though they feel like just that: only words. For as many roles as Nicole Kidman can play persuasively, there are some she can&acute;t. She can do Virginia Wolff, or an English mother stuck in a haunted home-- hell, even a maiden during the Civil War. But she continually strikes out as a doctor of any kind (see "The Peacekeeper"). There&acute;s something in her delivery of weighty subjects we just don&acute;t believe. Postmodern feminist that she is, the good doctor allows a patient who is terrified of her husband to go back to him. And there&acute;s no way in the world we can buy Kidman as an action star. To make matters even worse, she can&acute;t stay in her southern-ish accent for any prolonged period of time. It comes and goes from scene to scene--sometimes inside the same scene. There is no logical reason for her to talk like she&acute;s from "Cold Mountain" and then switch to "Days of Thunder." Except, of course, if no one was paying attention. The actual body of the film--the quest tale, essentially--works just fine. It doesn&acute;t try to make too much sense either in the context of the movie or in any real-world situation. There&acute;s some medical babble between Kidman and onscreen paramour Daniel Craig (playing one of the most unconvincing medical doctors committed to film) about who can be immune to the virus. Chicken pox comes up somewhere in the conversation, a list of drugs, some acronym which stands for something the government of the United States can&acute;t pin down, yet James Bond and the ex-Mrs. Tom Cruise can put together in three minutes. Yeah, okay. And that&acute;s one of the reasons it works: from the crash of Patriot, we&acute;re told to sit back, be quiet and don&acute;t ask any questions. Like how do the people on the metro know to tell Carol what to do? (They can&acute;t possibly all see she is sweating.) Why doesn&acute;t she stock up on weapons at any opportunity? Why break up a group of four survivors, allowing Ben (Craig) to go off on his own little adventure we never get to see? Why make the US government out to be a bunch of idiots? And why, for the love of good storytelling, lurch into an epilogue without filling in the rest of the story? I&acute;ve done little else but rail against "The Invasion" from the very beginning of this review. I may be painting the wrong picture. It&acute;s not blowing anyone&acute;s socks off nor is it reinventing the genre. What it turns out to be is enjoyable. A diversion that wants us to think--just not too hard because we&acute;d out-think the plot, I suspect. The premise seems psychologically sound on the surface: take away human emotions and we will live as one, without wars and hate, anger and bigotry. The aliens, for lack of a better word, aren&acute;t necessarily evil; they want to help. But they do it in the complete wrong way. Much has been made about "The Invasion" being delayed for a year, reshoots, new writers and director and on-set accidents. If there is another version out there-and I strongly suspect there is-it should be seen (much like the two versions of "Dominion: Prequel to the Exorcist"). This is the action oriented story; where is the more cerebral one in which there are lengthy discussions about the nature of emotions? Some of the pieces of that film are evident--Carol&acute;s profession, the relatively minor role her ex-husband plays, scenes at a military base and mentions of the president, for example. "The Invasion" isn&acute;t a rock &acute;em, sock &acute;em action spectacle like typical summer blockbusters. It dares us, on some level, to think. Again, not too hard or too deeply . . . just enough to scratch the surface, to get our own problem solving juices flowing. If we take emotion out of the equation, what kind of world would we live in? The film rates a 5.5--certainly not a disaster, but ultimately disappointing because there is a more meaningful plot just under the surface. No one knew how to find it. http://www.spout.com/blogs/cinemarian/archive/2008/5/12/28591.aspx Post By: CinemaRian
Post To: CinemaRian Blog
Post Date: 5/12/2008 11:31:30 AM
Body: The Invasion is a remake of Invasion of the Body Snatchers, a great movie, and it's worse than pointless. A pointless movie would have merely been a retread of the first film but not done as well. This picture takes an intelligent and suspenseful film and dumbs it down it down practically to the level of Mighty Morphin' Power Rangers, and adds MTV editing so that the most ADD person in the audience won't get bored. I would feel sorry for Nicole Kidman, a great actress, for appearing in it, if I didn't think it was for any reason other than to cash a paycheck. If you remember, the original Don Siegel film (which itself was based on the novella Sleep No More by Jack Finney) starred Kevin McCarthy involved a small town slowly being taken over by aliens that grew in plant pods that landed on Earth. They grew an identical version of you and replaced you when you slept. You still had all of your memories, but no emotion. I saw the movie when I was kid and it really scared me. I remember it vividly- the idea that your body would get taken away as you slept was really disturbing to say the least. A scene towards the end of the film (I won't give it away) was very tragic as well as scary. I was not a fan of the 1978 remake, directed by Phillip Kaufman and featuring a bizarre cast including Donald Sutherland, Leonard Nimoy, and Jeff Goldblum, finding it pretentious and often unintentionally funny, but at least it had some ambition to it. Whereas Siegel's film is often interpreted as one of the few intelligent anti-Communist films made in Hollywood, Kaufman appeared to making yet another trip to the 70's "government is corrupt" paranoia well, which I had long since tired of drinking from. I missed the 1993 remake, directed by Abel Ferrara and called simply Body Snatchers, which was not commercially successful but developed a minor cult following. The general outlines of the story were still unsettling, so I looked forward to seeing The Invasion, despite the bad reviews. I should have stayed home. The biggest of the many, many problems with The Invasion is that it takes a story that must treated with a degree of seriousness and realism if it going to be anything but laughable and pumps it up to Michael Bay-like intensity. We get countless cheesy CGI shots as the rubber-like virus (which replaces the plant pods) enter people bloodstreams. This movie does not need special effects to be scary. It also suffers from a big problem of Kaufman's remake- it takes forever to get the story going, even though everyone in the audience is aware of what's going on. An infected person is obviously acting different, yet no one seems to catch on until it's too late. Why are people in movie's like this so stupid? There is also a degree of implausibility. Why would the aliens take over Baltimore, Maryland instead of a small town and working there way out, as in the original? If they are going to take over a big city, wouldn't Washington, D.C. be a better choice? How exactly is this virus a self-aware being? And why are they invading anyway? There's no explanation (spoiler) as to why they want to take over another planet, as there was in the original or if they did (bigger spoiler) they would make the mistake of countless movie aliens from Signs to War of the Worlds and choose a planet where they could be so easily defeated. Finally, there is a bizarre homage to Pulp Fiction that is just unforgivable. Nicole Kidman is excellent, of course, but big deal. This is not a movie that requires a virtuoso performance, which makes her attempts at getting a real character unnecessary. It sort of seems like she was put into the movie to give it a sense of prestige it would otherwise lack. This is American debut for German director Oliver Hirschbiegel, who made the acclaimed movie Downfall, about the last days of Hitler and Goebells in their bunker. I don't like to accuse people of selling out, but, given the disparity between the two movies, it doesn't seem like Hirschbiegel even tried to make a good movie. Maybe he figured he could put in less work if he got paid in dollars instead of Euros. The Invasion (2007)
]]>Mon, 12 May 2008 15:31:30 GMTCinemaRianCinemaRian Blog5/12/2008 11:31:30 AMThe Invasion is a remake of Invasion of the Body Snatchers, a great movie, and it's worse than pointless. A pointless movie would have merely been a retread of the first film but not done as well. This picture takes an intelligent and suspenseful film and dumbs it down it down practically to the level of Mighty Morphin' Power Rangers, and adds MTV editing so that the most ADD person in the audience won't get bored. I would feel sorry for Nicole Kidman, a great actress, for appearing in it, if I didn't think it was for any reason other than to cash a paycheck. If you remember, the original Don Siegel film (which itself was based on the novella Sleep No More by Jack Finney) starred Kevin McCarthy involved a small town slowly being taken over by aliens that grew in plant pods that landed on Earth. They grew an identical version of you and replaced you when you slept. You still had all of your memories, but no emotion. I saw the movie when I was kid and it really scared me. I remember it vividly- the idea that your body would get taken away as you slept was really disturbing to say the least. A scene towards the end of the film (I won't give it away) was very tragic as well as scary. I was not a fan of the 1978 remake, directed by Phillip Kaufman and featuring a bizarre cast including Donald Sutherland, Leonard Nimoy, and Jeff Goldblum, finding it pretentious and often unintentionally funny, but at least it had some ambition to it. Whereas Siegel's film is often interpreted as one of the few intelligent anti-Communist films made in Hollywood, Kaufman appeared to making yet another trip to the 70's "government is corrupt" paranoia well, which I had long since tired of drinking from. I missed the 1993 remake, directed by Abel Ferrara and called simply Body Snatchers, which was not commercially successful but developed a minor cult following. The general outlines of the story were still unsettling, so I looked forward to seeing The Invasion, despite the bad reviews. I should have stayed home. The biggest of the many, many problems with The Invasion is that it takes a story that must treated with a degree of seriousness and realism if it going to be anything but laughable and pumps it up to Michael Bay-like intensity. We get countless cheesy CGI shots as the rubber-like virus (which replaces the plant pods) enter people bloodstreams. This movie does not need special effects to be scary. It also suffers from a big problem of Kaufman's remake- it takes forever to get the story going, even though everyone in the audience is aware of what's going on. An infected person is obviously acting different, yet no one seems to catch on until it's too late. Why are people in movie's like this so stupid? There is also a degree of implausibility. Why would the aliens take over Baltimore, Maryland instead of a small town and working there way out, as in the original? If they are going to take over a big city, wouldn't Washington, D.C. be a better choice? How exactly is this virus a self-aware being? And why are they invading anyway? There's no explanation (spoiler) as to why they want to take over another planet, as there was in the original or if they did (bigger spoiler) they would make the mistake of countless movie aliens from Signs to War of the Worlds and choose a planet where they could be so easily defeated. Finally, there is a bizarre homage to Pulp Fiction that is just unforgivable. Nicole Kidman is excellent, of course, but big deal. This is not a movie that requires a virtuoso performance, which makes her attempts at getting a real character unnecessary. It sort of seems like she was put into the movie to give it a sense of prestige it would otherwise lack. This is American debut for German director Oliver Hirschbiegel, who made the acclaimed movie Downfall, about the last days of Hitler and Goebells in their bunker. I don't like to accuse people of selling out, but, given the disparity between the two movies, it doesn't seem like Hirschbiegel even tried to make a good movie. Maybe he figured he could put in less work if he got paid in dollars instead of Euros. The Invasion (2007) http://www.spout.com/blogs/chesterfilms/archive/2007/9/3/19316.aspx Post By: chesterfilms
Post To: chesterfilms Blog
Post Date: 9/3/2007 8:11:33 PM
Body: Do all good things come in fours? Apparently not. Knowing that final cut was taken away from Oliver Hirschbiegel, (director of Downfall) I am hoping a directors cut will be released and it will be a completely different film. Much tighter and smarter, but the truth is I have no idea what was added or taken away from the film. The end product I saw could very well be close to what Hirschbiegel created, so I must take the film as it is. From the beginning, The Invasion is an utter mess of a film. To much happens to fast. The beauty of the 1956 Don Siegel version (Invasion Of The Body Snatchers, one of my favorite films) is it's pacing. It has a big exciting opening, but than relaxes and slowly builds into some sort of masterpiece. All 4 film have the same basic idea, and all deal with the problems of their time. In The Invasion it's the war in Iraq. And yet this time it doesn't really say anything important. One of the biggest problems with the film for me is the acting. I was wondering if the zombie like state had affected the cast from the beginning of the film. This gives me reason to fear that Hirschbiegel is a bit more to blame than I want to. The plot line was so predictable. Even though I know the story from the three other films, they failed to keep it interesting. The final straw for me was the ending. I can't go into it, but.....seriously. What the hell? All in all The Invasion is not a Terrible film. There are far worse movies you could go out and watch right now, but it is a completely uninspired and dull story that maybe should just not be told again. At least we have the fantastic 1956 & 1978 versions to revisit and experience real tension and real terror.
]]>Tue, 04 Sep 2007 00:11:33 GMTchesterfilmschesterfilms Blog9/3/2007 8:11:33 PMDo all good things come in fours? Apparently not. Knowing that final cut was taken away from Oliver Hirschbiegel, (director of Downfall) I am hoping a directors cut will be released and it will be a completely different film. Much tighter and smarter, but the truth is I have no idea what was added or taken away from the film. The end product I saw could very well be close to what Hirschbiegel created, so I must take the film as it is. From the beginning, The Invasion is an utter mess of a film. To much happens to fast. The beauty of the 1956 Don Siegel version (Invasion Of The Body Snatchers, one of my favorite films) is it&#39;s pacing. It has a big exciting opening, but than relaxes and slowly builds into some sort of masterpiece. All 4 film have the same basic idea, and all deal with the problems of their time. In The Invasion it&#39;s the war in Iraq. And yet this time it doesn&#39;t really say anything important. One of the biggest problems with the film for me is the acting. I was wondering if the zombie like state had affected the cast from the beginning of the film. This gives me reason to fear that Hirschbiegel is a bit more to blame than I want to. The plot line was so predictable. Even though I know the story from the three other films, they failed to keep it interesting. The final straw for me was the ending. I can&#39;t go into it, but.....seriously. What the hell? All in all The Invasion is not a Terrible film. There are far worse movies you could go out and watch right now, but it is a completely uninspired and dull story that maybe should just not be told again. At least we have the fantastic 1956 &amp; 1978 versions to revisit and experience real tension and real terror. http://www.spout.com/blogs/moviebabe/archive/2007/8/23/18622.aspx Post By: MovieBabe
Post To: MovieBabe Blog
Post Date: 8/23/2007 3:50:00 PM
Body: We'd like this off our resumes, pleaseThe setting is Manhattan's Upper East Side. A fresh college graduate, eager to put some sort of imprint upon the world but clueless about how to properly do so, takes a job – so easily gotten! -- as a nanny. If she squints really hard, this young woman can see the position being sorta-kinda related to anthropology, the field she eventually wants to enter. She's thrilled. Until she finds out that the exhausting, humiliating, and often just plain impossible mother-child-nanny power struggle she's now engaged in is its own circle of hell. If The Nanny Diaries sounds familiar, it's because you've seen it before – only it was called The Devil Wears Prada, with a fabulous spring collection standing in for the baby that a slave-driving bitch casually bears, then orders an exasperated lackey to kill herself trying to care for it. Oh: And it was also a book, a novelized bit of composite nonfiction by former New York nannies Emma McLaughlin and Nicola Kraus. But this is Hollywood, and the book was predominantly dark and biting. So readers should prepare themselves to see the more precious, message-touting, "In a world..." version of Annie's story on the big screen. (Yes, Annie's: The character is also no longer "Nan.") The shift in tone is surprising only when you consider the film's writers-directors, Shari Springer Berman and Robert Pulcini. The pair may have 2003's witty, meta Harvey Pekar biopic American Splendor on their resumes, but their offbeat sensibility isn't much in evidence here. The movie is framed as an anthropological study – which would have been more interesting if Mean Girls hadn't taken a similar approach three years ago – of "resourceful" UES mothers who manage to juggle days full of pursuits such as shopping, pampering, and puking. And, of course, monitoring not their children, but their nannies: When Annie (a dowdied Scarlett Johansson) runs into her tiny future liege, Grayer (Nicholas Art), and his mother, Mrs. X (Laura Linney), in a park, the mother and son are together only because Mrs. X had just fired Grayer's latest nanny. Annie wasn't looking to become a sitter – she'd majored in business -- but she'd just blown a big corporate interview, and when Mrs. X mishears her name as her occupation, she begs Annie to work for her. Grayer seems sweet, and Annie needs a job, so she agrees. Bergman and Pulcini at the very least still rather entertainingly eviscerate the book's main target, well-off women who are mothers in name only. The gorgeously coiffed and wardrobed Linney easily pulls off the icy, deplorable caricature that comprises the bulk of Mrs. X (the authors kept most of the characters anonymous, including Nan/Annie's love interest, "Harvard Hottie"). The woman mistreats her employees while pretending to live for haute couture, bullshit benefits, and general one-upmanship; really, though, she does care that her husband (Paul Giamatti, using his schlubbiness to dirtbag effect) is cheating on her and spends even less time with their bratty son than she does, and Linney is careful to let cracks of this show as well. But even though the end of the story was changed to emphasize this damnation of absentee parenting, the alteration is really all about making the heroine look good. Annie and her adventures in babysitting are no longer part of a satire, but a feel-good fable about growing up: Annie lies to her working-class mother, whom at one point randomly insists that "no man is going to squash your dream!", about taking the lowly job and struggles with "which kind of New Yorker" she is destined to become. The angle would be more palatable if it weren't mired in sitcom humor (how else to meet the man of your dreams but locked out in a hallway with your pants down?) and treacle ("I wuv you!"). Worse, Johansson just isn't all that likable in such a comic-everywoman role, appearing stiff as she tries to flail and sputter like a more normal 22-year-olds instead of the preternaturally self-possessed one that the actress actually seems to be. One could imagine Anne Hathaway getting it right, but apparently she was busy. Whatever you say, Mom. Party! Human beings in general are under the microscope in The Invasion, the fourth film adaptation of Jack Finney's novel, Body Snatchers. Why make a version in 2007 after it's already been done in 1956, 1978, and 1993? Iraq, of course. And Darfur. And even Hurricane Katrina. This generation's Invasion, penned by first-timers Dave Kaiganich and directed by German-born Oliver Hirschbiegel (with some help, reportedly, from The Matrix's Andy and Larry Wachowski), doesn't just hint at the allegory inherent in its story about an alien life form steathily taking over the human race, creating a world without emotion in the process. On one side, there are the converted, who naturally want to convert. On the other are the paranoid, friends and family to the outsiders who, though they can't quite put a finger on how, are pretty sure that Uncle Joe and little Jimmy just ain't right. In 1956, Communism was the thing to be feared, yet the makers of the first film only briefly mention "what's going on in the world" to prompt viewers who wanted more than a mystery to read between the pods. Here, you *will* get the message. Current news constantly pours out of televisions, radios, newspapers, and, in case you can't read headlines, characters' mouths. The idea: Would we be better off as a society of robots, living without war and crime because we no longer feel? The answer is an altogether too positive one, at least for an otherwise dark and satisfying thriller. Nicole Kidman stars as Carol Bennell, a Washington, D.C., psychiatrist who hears the infamous "My [blank] is no longer my [blank]" line from one of her patients (Veronica Cartwright, who co-starred in the 1978 movie and gives a terrific monologue here). Immediately, Carol begins noticing oddities, too – a kid who gets attacked by a dog yet isn't frightened, the people spread out neatly at a bus stop, the sudden appearance of her ex-husband, who now insists on spending time with their son, Oliver (Jackson Bond). Even though she spends her days personally quelling her clients with drugs – here's another message for you -- she's not so hot on the idea of it occurring outside of her control. With the help of her boyfriend, Ben (Daniel Craig), Carol gets a sample of some goo she found analyzed and discovered that it's a gene-mutating life form that alters its hosts when they sleep. By this time, Washington is full of replicants – well, more than usual. Despite its political overobviousness, The Invasion is a taut adaptation of Finney's well-worn story. The explanation of where the body snatchers (though the term isn't used) came from and why they're a danger is more comprehensible, both in actual explanation and in feeling. These zombies aren't vacant but have menace in their eyes, and are second-Dawn of the Dead-quick to gather and zone in on creatures that aren't one of them. Whereas previous fighters against the invasion seemed to be merely living among the sleep-deprived, Carol and her small group seem in constant, claustrophobic danger of vultures out for their lives. The fear is still largely psychological, with a layer of tension added when Carol is separated from her son. But there's also an injection of action, albeit nowhere near the overload you might expect from a modern-day, Wachowski-enhanced blockbuster. (Their touch is subtle but recognizable, particularly during a darkly lit and balletically blocked car chase.) The fun ends, though, with a narrative twist that's blown up into, essentially, a giant cop-out that's completely out of character with previous versions. In the end, The Invasion is the opposite of what it should be: all emotion and no guts.
]]>Thu, 23 Aug 2007 19:50:00 GMTMovieBabeMovieBabe Blog8/23/2007 3:50:00 PMWe&#39;d like this off our resumes, pleaseThe setting is Manhattan&#39;s Upper East Side. A fresh college graduate, eager to put some sort of imprint upon the world but clueless about how to properly do so, takes a job &ndash; so easily gotten! -- as a nanny. If she squints really hard, this young woman can see the position being sorta-kinda related to anthropology, the field she eventually wants to enter. She&#39;s thrilled. Until she finds out that the exhausting, humiliating, and often just plain impossible mother-child-nanny power struggle she&#39;s now engaged in is its own circle of hell. If The Nanny Diaries sounds familiar, it&#39;s because you&#39;ve seen it before &ndash; only it was called The Devil Wears Prada, with a fabulous spring collection standing in for the baby that a slave-driving bitch casually bears, then orders an exasperated lackey to kill herself trying to care for it. Oh: And it was also a book, a novelized bit of composite nonfiction by former New York nannies Emma McLaughlin and Nicola Kraus. But this is Hollywood, and the book was predominantly dark and biting. So readers should prepare themselves to see the more precious, message-touting, "In a world..." version of Annie&#39;s story on the big screen. (Yes, Annie&#39;s: The character is also no longer "Nan.") The shift in tone is surprising only when you consider the film&#39;s writers-directors, Shari Springer Berman and Robert Pulcini. The pair may have 2003&#39;s witty, meta Harvey Pekar biopic American Splendor on their resumes, but their offbeat sensibility isn&#39;t much in evidence here. The movie is framed as an anthropological study &ndash; which would have been more interesting if Mean Girls hadn&#39;t taken a similar approach three years ago &ndash; of "resourceful" UES mothers who manage to juggle days full of pursuits such as shopping, pampering, and puking. And, of course, monitoring not their children, but their nannies: When Annie (a dowdied Scarlett Johansson) runs into her tiny future liege, Grayer (Nicholas Art), and his mother, Mrs. X (Laura Linney), in a park, the mother and son are together only because Mrs. X had just fired Grayer&#39;s latest nanny. Annie wasn&#39;t looking to become a sitter &ndash; she&#39;d majored in business -- but she&#39;d just blown a big corporate interview, and when Mrs. X mishears her name as her occupation, she begs Annie to work for her. Grayer seems sweet, and Annie needs a job, so she agrees. Bergman and Pulcini at the very least still rather entertainingly eviscerate the book&#39;s main target, well-off women who are mothers in name only. The gorgeously coiffed and wardrobed Linney easily pulls off the icy, deplorable caricature that comprises the bulk of Mrs. X (the authors kept most of the characters anonymous, including Nan/Annie&#39;s love interest, "Harvard Hottie"). The woman mistreats her employees while pretending to live for haute couture, bullshit benefits, and general one-upmanship; really, though, she does care that her husband (Paul Giamatti, using his schlubbiness to dirtbag effect) is cheating on her and spends even less time with their bratty son than she does, and Linney is careful to let cracks of this show as well. But even though the end of the story was changed to emphasize this damnation of absentee parenting, the alteration is really all about making the heroine look good. Annie and her adventures in babysitting are no longer part of a satire, but a feel-good fable about growing up: Annie lies to her working-class mother, whom at one point randomly insists that "no man is going to squash your dream!", about taking the lowly job and struggles with "which kind of New Yorker" she is destined to become. The angle would be more palatable if it weren&#39;t mired in sitcom humor (how else to meet the man of your dreams but locked out in a hallway with your pants down?) and treacle ("I wuv you!"). Worse, Johansson just isn&#39;t all that likable in such a comic-everywoman role, appearing stiff as she tries to flail and sputter like a more normal 22-year-olds instead of the preternaturally self-possessed one that the actress actually seems to be. One could imagine Anne Hathaway getting it right, but apparently she was busy. Whatever you say, Mom. Party! Human beings in general are under the microscope in The Invasion, the fourth film adaptation of Jack Finney&#39;s novel, Body Snatchers. Why make a version in 2007 after it&#39;s already been done in 1956, 1978, and 1993? Iraq, of course. And Darfur. And even Hurricane Katrina. This generation&#39;s Invasion, penned by first-timers Dave Kaiganich and directed by German-born Oliver Hirschbiegel (with some help, reportedly, from The Matrix&#39;s Andy and Larry Wachowski), doesn&#39;t just hint at the allegory inherent in its story about an alien life form steathily taking over the human race, creating a world without emotion in the process. On one side, there are the converted, who naturally want to convert. On the other are the paranoid, friends and family to the outsiders who, though they can&#39;t quite put a finger on how, are pretty sure that Uncle Joe and little Jimmy just ain&#39;t right. In 1956, Communism was the thing to be feared, yet the makers of the first film only briefly mention "what&#39;s going on in the world" to prompt viewers who wanted more than a mystery to read between the pods. Here, you *will* get the message. Current news constantly pours out of televisions, radios, newspapers, and, in case you can&#39;t read headlines, characters&#39; mouths. The idea: Would we be better off as a society of robots, living without war and crime because we no longer feel? The answer is an altogether too positive one, at least for an otherwise dark and satisfying thriller. Nicole Kidman stars as Carol Bennell, a Washington, D.C., psychiatrist who hears the infamous "My [blank] is no longer my [blank]" line from one of her patients (Veronica Cartwright, who co-starred in the 1978 movie and gives a terrific monologue here). Immediately, Carol begins noticing oddities, too &ndash; a kid who gets attacked by a dog yet isn&#39;t frightened, the people spread out neatly at a bus stop, the sudden appearance of her ex-husband, who now insists on spending time with their son, Oliver (Jackson Bond). Even though she spends her days personally quelling her clients with drugs &ndash; here&#39;s another message for you -- she&#39;s not so hot on the idea of it occurring outside of her control. With the help of her boyfriend, Ben (Daniel Craig), Carol gets a sample of some goo she found analyzed and discovered that it&#39;s a gene-mutating life form that alters its hosts when they sleep. By this time, Washington is full of replicants &ndash; well, more than usual. Despite its political overobviousness, The Invasion is a taut adaptation of Finney&#39;s well-worn story. The explanation of where the body snatchers (though the term isn&#39;t used) came from and why they&#39;re a danger is more comprehensible, both in actual explanation and in feeling. These zombies aren&#39;t vacant but have menace in their eyes, and are second-Dawn of the Dead-quick to gather and zone in on creatures that aren&#39;t one of them. Whereas previous fighters against the invasion seemed to be merely living among the sleep-deprived, Carol and her small group seem in constant, claustrophobic danger of vultures out for their lives. The fear is still largely psychological, with a layer of tension added when Carol is separated from her son. But there&#39;s also an injection of action, albeit nowhere near the overload you might expect from a modern-day, Wachowski-enhanced blockbuster. (Their touch is subtle but recognizable, particularly during a darkly lit and balletically blocked car chase.) The fun ends, though, with a narrative twist that&#39;s blown up into, essentially, a giant cop-out that&#39;s completely out of character with previous versions. In the end, The Invasion is the opposite of what it should be: all emotion and no guts. http://www.spout.com/blogs/laraemeadows/archive/2007/8/17/18299.aspx Post By: laraemeadows
Post To: laraemeadows Blog
Post Date: 8/17/2007 2:23:29 PM
Body: The Invasion is about an intelligent alien bacteria that modifies the essential nature of humanity without changing its physical nature. The Invasion attempts to teach us something about our essential nature but instead teaches us about our nature to be suckered into a dull movie. A shuttle crash brings with it an alien parasite that enters the human population. Dr. Carol Benell (Nicole Kidman) is thrown in the middle of the outbreak when her ex-husband, a doctor for the Center for Disease Control, Tucker Kaufman (Jeremy Northam) visits their son, Oliver (Jackson Bond.) While Oliver is visiting his father, he and Carol get separated and Carol has to try to find him in the middle of the outbreak. Her and her colleague, Ben Driscoll, (Daniel Craig) set out to find him. The only way to move through the ever transforming sea of the infected unnoticed is to pretend that you have no emotions. The first twenty minutes of the movie is director Oliver Hirschbiegel’s attempt at showing how emotional, individual, and human we all are in our everyday lives. On her walk to work, Carol is confronted by examples of emotions running wild in the street. Women are crying, loud conversations come from men shouting into their cell phones and there are obvious acts of love between mother and child. There are so many acts of emotion that you wonder if they let the mental patients out of the hospital. It gets nauseatingly obvious that Hirschbiegel is trying to make a point, he might as well have used giant red pen. As The Invasion progresses, you can identify those poor saps who have contracted alienococcus by the deadpan looks on their faces. Their inability to exhibit basic human emotion is obviously supposed to be frightening. Not a single actor in the movie, except Jeremy Northam, can muster the stone faced, emotional façade to make the rigid roboticism feel realistic or petrifying. The majority of The Invasion has at least one person attempting stoicism and their acting disabilities left the movie infirmed, debilitated and crying out for cinematic medical attention! Nicole Kidman left me looking for a paramedic. Kidman’s ability to be imperturbable could be measured in centimeters. She nearly mastered the stiff body movements but couldn’t ever quite relax enough in her face to pass as an emotional vacuum. Kidman couldn’t quite get the hot-blooded, impassioned, tender, or touching perfected either. Her performance was a well rounded mess. She is supposed to have complex feelings for Ben but there is no affect entanglement or fruition. Ben, played by Daniel Craig, didn’t impress either. The script and the direction were obviously attempting to build an Olympic sized pool, I had my bathing suit and towel, and Craig can’t muster the emotional depth of a tide pool. There is even a shamefully awkward kissing scene that made me avert my eyes and gnash my teeth. Another thing that nearly made me crack my teeth was the CSI knock off, super close-up blood scenes. Want to see how autoalienitis affects a normal human body and see crappy graphics and animations? Director Oliver Hirschbiegel will provide you with enough atrocious reenactments and demonstrations that you’ll never need to watch another alien autopsy. Thank goodness the movie isn’t all blood work. The camera work in The Invasion is the most haunting and resonating individual component of the movie. Generally speaking, the transformed characters are shot at a lower anger with slightly darker lighting. It may be standard horror movie faire but cinematographer Rainer Klausmann made classic chiller cinematography feel fresh and freshness was something desperately needed in The Invasion. The point of the movie is obvious but not poignant. Even though there is a beginning, a middle and an end, it feels like the plot is missing a meaty component that you can sink your teeth into or to leave a lasting taste in your mouth. None of the characters feel finished, the relationships don’t feel genuine and the plot feels hollow. While there are times that The Invasion is fun, with action that can captivate for a couple minutes at a time, that’s pretty much all it has to offer. The Invasion won’t make any ten best or worst lists. It will earn the obscurity this mediocre execution deserves.
]]>Fri, 17 Aug 2007 18:23:29 GMTlaraemeadowslaraemeadows Blog8/17/2007 2:23:29 PM The Invasion is about an intelligent alien bacteria that modifies the essential nature of humanity without changing its physical nature. The Invasion attempts to teach us something about our essential nature but instead teaches us about our nature to be suckered into a dull movie. A shuttle crash brings with it an alien parasite that enters the human population. Dr. Carol Benell (Nicole Kidman) is thrown in the middle of the outbreak when her ex-husband, a doctor for the Center for Disease Control, Tucker Kaufman (Jeremy Northam) visits their son, Oliver (Jackson Bond.) While Oliver is visiting his father, he and Carol get separated and Carol has to try to find him in the middle of the outbreak. Her and her colleague, Ben Driscoll, (Daniel Craig) set out to find him. The only way to move through the ever transforming sea of the infected unnoticed is to pretend that you have no emotions. The first twenty minutes of the movie is director Oliver Hirschbiegel&rsquo;s attempt at showing how emotional, individual, and human we all are in our everyday lives. On her walk to work, Carol is confronted by examples of emotions running wild in the street. Women are crying, loud conversations come from men shouting into their cell phones and there are obvious acts of love between mother and child. There are so many acts of emotion that you wonder if they let the mental patients out of the hospital. It gets nauseatingly obvious that Hirschbiegel is trying to make a point, he might as well have used giant red pen. As The Invasion progresses, you can identify those poor saps who have contracted alienococcus by the deadpan looks on their faces. Their inability to exhibit basic human emotion is obviously supposed to be frightening. Not a single actor in the movie, except Jeremy Northam, can muster the stone faced, emotional fa&ccedil;ade to make the rigid roboticism feel realistic or petrifying. The majority of The Invasion has at least one person attempting stoicism and their acting disabilities left the movie infirmed, debilitated and crying out for cinematic medical attention! Nicole Kidman left me looking for a paramedic. Kidman&rsquo;s ability to be imperturbable could be measured in centimeters. She nearly mastered the stiff body movements but couldn&rsquo;t ever quite relax enough in her face to pass as an emotional vacuum. Kidman couldn&rsquo;t quite get the hot-blooded, impassioned, tender, or touching perfected either. Her performance was a well rounded mess. She is supposed to have complex feelings for Ben but there is no affect entanglement or fruition. Ben, played by Daniel Craig, didn&rsquo;t impress either. The script and the direction were obviously attempting to build an Olympic sized pool, I had my bathing suit and towel, and Craig can&rsquo;t muster the emotional depth of a tide pool. There is even a shamefully awkward kissing scene that made me avert my eyes and gnash my teeth. Another thing that nearly made me crack my teeth was the CSI knock off, super close-up blood scenes. Want to see how autoalienitis affects a normal human body and see crappy graphics and animations? Director Oliver Hirschbiegel will provide you with enough atrocious reenactments and demonstrations that you&rsquo;ll never need to watch another alien autopsy. Thank goodness the movie isn&rsquo;t all blood work. The camera work in The Invasion is the most haunting and resonating individual component of the movie. Generally speaking, the transformed characters are shot at a lower anger with slightly darker lighting. It may be standard horror movie faire but cinematographer Rainer Klausmann made classic chiller cinematography feel fresh and freshness was something desperately needed in The Invasion. The point of the movie is obvious but not poignant. Even though there is a beginning, a middle and an end, it feels like the plot is missing a meaty component that you can sink your teeth into or to leave a lasting taste in your mouth. None of the characters feel finished, the relationships don&rsquo;t feel genuine and the plot feels hollow. While there are times that The Invasion is fun, with action that can captivate for a couple minutes at a time, that&rsquo;s pretty much all it has to offer. The Invasion won&rsquo;t make any ten best or worst lists. It will earn the obscurity this mediocre execution deserves. http://www.spout.com/blogs/spoutblog/archive/2007/8/16/18211.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/16/2007 9:01:04 AM
Body: Nicole Kidman’s streak of high-profile disappointments looks like it’ll continue with The Invasion. Dennis Harvey’s review confirms the bad buzz: “Perhaps the sole distinguishing element in this Invasion is that it provides a new transmission oh-so-characteristic of our filmic era: projectile barfing.” Jennifer Aniston will join Drew Barrymore, Jennifer Connelly and Kevin Connelly in He’s Just Not Into You, making the New Line project surely the most star-studded movie based on a self-help book ever made. Rosario Dawson is teaming with the creative team behind the hit animated sci-fi web video series Afterworld to star in and produce The Gemini Division, a 100-episode “live-action/motion-capture animation online sci-fi series.” Emerging Pictures is calling on students at historically black universities around the country to help promote Honeydripper, John Sayles’ upcoming musical starring Danny Glover. EP, in partnership with Clark Atlanta University, is creating a college course through which “students from participating schools will help develop and implement a grassroots marketing campaign with their professors and the film’s distribution team.” The film will make its debut at the Toronto Film Festival. Originally posted on:Spoutblog
]]>Thu, 16 Aug 2007 13:01:04 GMTSpoutBlogSpoutBlog on spout.com8/16/2007 9:01:04 AM Nicole Kidman’s streak of high-profile disappointments looks like it’ll continue with The Invasion. Dennis Harvey’s review confirms the bad buzz: “Perhaps the sole distinguishing element in this Invasion is that it provides a new transmission oh-so-characteristic of our filmic era: projectile barfing.” Jennifer Aniston will join Drew Barrymore, Jennifer Connelly and Kevin Connelly in He’s Just Not Into You, making the New Line project surely the most star-studded movie based on a self-help book ever made. Rosario Dawson is teaming with the creative team behind the hit animated sci-fi web video series Afterworld to star in and produce The Gemini Division, a 100-episode “live-action/motion-capture animation online sci-fi series.” Emerging Pictures is calling on students at historically black universities around the country to help promote Honeydripper, John Sayles’ upcoming musical starring Danny Glover. EP, in partnership with Clark Atlanta University, is creating a college course through which “students from participating schools will help develop and implement a grassroots marketing campaign with their professors and the film’s distribution team.” The film will make its debut at the Toronto Film Festival. Originally posted on:Spoutblog http://www.spout.com/members/0/tags/remake/MemberTagFilms.aspxremake
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