I’ve mentioned before on SciFiHistory.Net that those who know me well long ago encouraged me to avoid watching The Invasion (2007).
Now, just to be perfectly clear, they did this not because any of them necessarily thought that this particular version of the Science Fiction story originally penned by Jack Finney was bad. Instead, it was precisely because they know what high regard I give the 1956 original Invasion Of The Body Snatchers, arguably one of the seminal flicks of the 1950’s. Furthermore, they know of how much I respect the pretty spectacular 1978 remake from director Philip Kaufman. When it comes to evaluating my likes and dislikes, I’ve learned to trust a few friends and contemporaries; so I do understand and appreciate why they encouraged me to spend my time elsewhere. It’s good to have folks who know me well enough to provide a polite ‘heads up.’
Still, when I saw that Arrow Films was giving this 2007 incarnation a makeover, I knew it was time to take the leap. I did just yesterday; and – while I wasn’t completely won over in the process – I’m still glad that I did. German director Oliver Hirschbiegel largely played it safe with his version, sticking reasonably close to what’s been done before with the material but giving it enough of a makeover so that it feels a bit more modernistic. Award-winning producer and screenwriter David Kajganich penned the script, and the film stars Nicole Kidman, Daniel Craig, Jeremy Northam, Jackson Bond, and Jeffrey Wright in big roles. Veronica Cartwright – who had a small role in the 1978 remake – also shows up in an equally small yet interesting part; and I’m always a fan of seeing familiar faces returning for updates. If nothing else, it feels like a way to link alternate theatrical universes together in ways that delight legitimate fans, of which I consider myself.
However, I’ll admit on the front end that – after seeing it – I can see why associates believed I’d find it inferior; and I think they’re (mostly) spot on. If you’re going to bring such star wattage as Kidman and Craig to not just a Science Fiction, Fantasy, and Horror Classic but one that has earned its rightful place amongst the best genre has to offer, then you really owe it to yourself and the audience to deliver something special; and that just doesn’t quite happen here. It’s good, yes, but is it good enough? Does it hit the necessary notes, and does it ring the necessary bells? Does it benefit from the reputation of a smaller SciFi franchise, or does it tarnish the legacy?
Well … you be the judge.
Now, just to be perfectly clear, they did this not because any of them necessarily thought that this particular version of the Science Fiction story originally penned by Jack Finney was bad. Instead, it was precisely because they know what high regard I give the 1956 original Invasion Of The Body Snatchers, arguably one of the seminal flicks of the 1950’s. Furthermore, they know of how much I respect the pretty spectacular 1978 remake from director Philip Kaufman. When it comes to evaluating my likes and dislikes, I’ve learned to trust a few friends and contemporaries; so I do understand and appreciate why they encouraged me to spend my time elsewhere. It’s good to have folks who know me well enough to provide a polite ‘heads up.’
Still, when I saw that Arrow Films was giving this 2007 incarnation a makeover, I knew it was time to take the leap. I did just yesterday; and – while I wasn’t completely won over in the process – I’m still glad that I did. German director Oliver Hirschbiegel largely played it safe with his version, sticking reasonably close to what’s been done before with the material but giving it enough of a makeover so that it feels a bit more modernistic. Award-winning producer and screenwriter David Kajganich penned the script, and the film stars Nicole Kidman, Daniel Craig, Jeremy Northam, Jackson Bond, and Jeffrey Wright in big roles. Veronica Cartwright – who had a small role in the 1978 remake – also shows up in an equally small yet interesting part; and I’m always a fan of seeing familiar faces returning for updates. If nothing else, it feels like a way to link alternate theatrical universes together in ways that delight legitimate fans, of which I consider myself.
However, I’ll admit on the front end that – after seeing it – I can see why associates believed I’d find it inferior; and I think they’re (mostly) spot on. If you’re going to bring such star wattage as Kidman and Craig to not just a Science Fiction, Fantasy, and Horror Classic but one that has earned its rightful place amongst the best genre has to offer, then you really owe it to yourself and the audience to deliver something special; and that just doesn’t quite happen here. It’s good, yes, but is it good enough? Does it hit the necessary notes, and does it ring the necessary bells? Does it benefit from the reputation of a smaller SciFi franchise, or does it tarnish the legacy?
Well … you be the judge.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“As a Washington, D.C. psychiatrist unearths the origin of an alien epidemic, she also discovers her son might be the only way it can be stopped.”
There’s a truth about films that goes like this: “You find what you want in art.”
In other words, if a certain flick bears a message, then it may not have been intended by its creator but instead it might spring entirely from your brain, a response to the cognitive process of taking it all in and spitting out your thoughts on the drama.
Despite 1956’s Invasion Of The Body Snatchers focusing on an alien invasion whilst in progress, there exist many in the media and across intelligentsia who’ll tell you that the film was in reality designed to be an allegory for the Cold War and/or the Red Scare allegedly tied to Senator Joseph McCarthy. The problem with this statement is that any sensible degree of research into the topic will confirm that no one involved with the production – not director Don Siegel or its large cast and crew – ever intended for that to be the case. In fact, some have even pushed back against such assertions, insisting that they set simply to make a good Science Fiction yarn; and – on that point – I think they succeeded.
As you can see, we – as a culture – saw the story through our own filters, and – in this process – we inserted our beliefs in such a way that we believed that’s what was intended as a takeaway.
Similarly, 1978’s Invasion Of The Body Snatchers was attributed to warning viewers that society – as a whole – might not be as good a thing as we think it is. The negative consequences of a whole “see something, say something” campaign were it was said to come front-and-center to a conspiratorial yarn that even popular critic Roger Ebert suggested was commenting on the Watergate scandal and abuses of authority. The New Yorker’s resident wizard Pauline Kael stated that this version Invasion was “the best film of its kind ever made” (per Wikipedia.org), though I’ve not read her full accounting and am a little remiss to analyze it further, other than to say that perhaps the lady overthought it just a bit.
From the film’s IMDB.com page citation:
“As a Washington, D.C. psychiatrist unearths the origin of an alien epidemic, she also discovers her son might be the only way it can be stopped.”
There’s a truth about films that goes like this: “You find what you want in art.”
In other words, if a certain flick bears a message, then it may not have been intended by its creator but instead it might spring entirely from your brain, a response to the cognitive process of taking it all in and spitting out your thoughts on the drama.
Despite 1956’s Invasion Of The Body Snatchers focusing on an alien invasion whilst in progress, there exist many in the media and across intelligentsia who’ll tell you that the film was in reality designed to be an allegory for the Cold War and/or the Red Scare allegedly tied to Senator Joseph McCarthy. The problem with this statement is that any sensible degree of research into the topic will confirm that no one involved with the production – not director Don Siegel or its large cast and crew – ever intended for that to be the case. In fact, some have even pushed back against such assertions, insisting that they set simply to make a good Science Fiction yarn; and – on that point – I think they succeeded.
As you can see, we – as a culture – saw the story through our own filters, and – in this process – we inserted our beliefs in such a way that we believed that’s what was intended as a takeaway.
Similarly, 1978’s Invasion Of The Body Snatchers was attributed to warning viewers that society – as a whole – might not be as good a thing as we think it is. The negative consequences of a whole “see something, say something” campaign were it was said to come front-and-center to a conspiratorial yarn that even popular critic Roger Ebert suggested was commenting on the Watergate scandal and abuses of authority. The New Yorker’s resident wizard Pauline Kael stated that this version Invasion was “the best film of its kind ever made” (per Wikipedia.org), though I’ve not read her full accounting and am a little remiss to analyze it further, other than to say that perhaps the lady overthought it just a bit.
Again, we’re apt to see what we want in art because it validates not just who we are but also how we see the world at large. We process images and story and characters through these various mental filters – education, morality, religion, etc. – and as we do so we assign them worth which leads to such judgments. Right or wrong, it’s still how we’re wired, so I do approach much of what I see hoping to dial those indicators down only so that they don’t create obstacles to my being entertained. If it’s a great film, then it deserves to be celebrated as a great film: similarly, if it means something more to me personally, then it’s okay to talk about that, too … just be conscious that what you see may not be what I see.
Of course, this brings me to The Invasion, and I have to say that, initially, it’s a disappointing version if for no other reason than I don’t believe it says anything of meaningful substance.
Dr. Carol Bennell (played by Nicole Kidman) has begun noticing that the people all around her are behaving in ways not quite natural. They’ve begun speaking slowly in passive tones, and they’re sometimes standing around in grouped silence looking at nothing in particular. Expressionless faces accompany her as she’s walking down the street. Even her ex-husband Tucker Kaufman (Jeremy Northam) is displaying an uncharacteristic detachment to all things including their shared son Oliver (Jackson Bond). So when one of her patients starts saying that her husband is no longer her husband, the good doctor realizes that things are decidedly afoot, and she launches an investigation hoping to get to the bottom of this growing social trend.
One of the singular problems in evaluating remakes is that it can be difficult appreciating alternatives when what was done originally was superior; and that’s my biggest stumbling block to recognizing The Invasion on its own two feet. Both previous versions (yes, there’s a third from the 1990’s, but I’ve not seen it) dealt a bit more deliberately about showcasing their infected whereas this version most of them are kept at arm’s length. They’re more background players in crowd scenes, and this makes them much less personal and equally less ominous. While the exchanges around Carol and Tucker are mildly creepy, the scenes of the doctor on-the-run, fleeing for her life and the life of her son, become the central push to the whole affair. Gone is the greater sensation of a subversive war to overtake our planet; and – in its place – are a bunch of lesser action sequences, actress Kidman running away, and even more than a few car crashes. Consider this high concept suitably dumbed-down for – ahem – wider consumption.
I have read that The Invasion suffered from a bit of controversy in its post-production life. From what I understand, director Kajganich loaded the flick with what he believed was some stylish visuals highlighting the fragile emotional state of his lead, leaving the studio a bit disappointed with his finished product. At this point, the Wachowskis (of The Matrix fame) were contracted to come aboard and rework the story and cinematography into something more audience friendly. A new director – James McTeigue – was also brought in to handle these necessary reshoots. As a consequence, I – as a viewer – don’t know entirely who to blame for the fact that this Invasion feels less like a cohesive whole and more like a murky departure from what should’ve been easy-peasy.
Of course, this brings me to The Invasion, and I have to say that, initially, it’s a disappointing version if for no other reason than I don’t believe it says anything of meaningful substance.
Dr. Carol Bennell (played by Nicole Kidman) has begun noticing that the people all around her are behaving in ways not quite natural. They’ve begun speaking slowly in passive tones, and they’re sometimes standing around in grouped silence looking at nothing in particular. Expressionless faces accompany her as she’s walking down the street. Even her ex-husband Tucker Kaufman (Jeremy Northam) is displaying an uncharacteristic detachment to all things including their shared son Oliver (Jackson Bond). So when one of her patients starts saying that her husband is no longer her husband, the good doctor realizes that things are decidedly afoot, and she launches an investigation hoping to get to the bottom of this growing social trend.
One of the singular problems in evaluating remakes is that it can be difficult appreciating alternatives when what was done originally was superior; and that’s my biggest stumbling block to recognizing The Invasion on its own two feet. Both previous versions (yes, there’s a third from the 1990’s, but I’ve not seen it) dealt a bit more deliberately about showcasing their infected whereas this version most of them are kept at arm’s length. They’re more background players in crowd scenes, and this makes them much less personal and equally less ominous. While the exchanges around Carol and Tucker are mildly creepy, the scenes of the doctor on-the-run, fleeing for her life and the life of her son, become the central push to the whole affair. Gone is the greater sensation of a subversive war to overtake our planet; and – in its place – are a bunch of lesser action sequences, actress Kidman running away, and even more than a few car crashes. Consider this high concept suitably dumbed-down for – ahem – wider consumption.
I have read that The Invasion suffered from a bit of controversy in its post-production life. From what I understand, director Kajganich loaded the flick with what he believed was some stylish visuals highlighting the fragile emotional state of his lead, leaving the studio a bit disappointed with his finished product. At this point, the Wachowskis (of The Matrix fame) were contracted to come aboard and rework the story and cinematography into something more audience friendly. A new director – James McTeigue – was also brought in to handle these necessary reshoots. As a consequence, I – as a viewer – don’t know entirely who to blame for the fact that this Invasion feels less like a cohesive whole and more like a murky departure from what should’ve been easy-peasy.
A huge stumbling block is that – unlike those earlier versions which seemed to be minimally commenting on the times in which they were made – this story merely throws politics and war talking points in, never quite clarifying why they needed to be here. TV screens and radios blare out news blurbs about conflicts around the world, and there’s even an old Cold War friendship between U.S. and Russian diplomats that feels – gasp! – outdated. Gone is the 1978’s distrust of society and authority and – in its place – it would seem that anyone other than oneself should not be trusted; so where can an audience ultimately go with that indictment? There’s even some modest suggestion that pharmaceuticals are the only way to avoid being absorbed by this growing alien consciousness; and I would think that given what we know about addiction, tolerance, and other long-term risks that someone behind-the-scenes might’ve said to dial down such inferences. Who knows? Maybe Big Pharma financed the picture.
If nothing else, The Invasion is an experience that might benefit from the consciousness evolving post-COVID. Initially, the alien’s campaign is painted as nothing more than an odd mutation of the seasonal flu, and I couldn’t help but wonder where oh where I’d recently heard that analogy before. (snicker snicker) Clearly, there are snippets in here – the questioning of drug trials, the efficacy of moving forward without sufficient research, and the like – that might be of greater significance today than they were back in 2007. One medical professional is even scolded just a bit for putting knowledge and welfare ahead of profitability, so it is very telling to see that perhaps such cynicism is cyclical, though we could use a fair share of it on a regular basis and I’d not be insulted.
Kidman – always a pleasure to look at – does what she can with the material, meaning that it never gives her all that much to do other than raise an eyebrow almost Vulcan-style when encountering some new development that defies her sharply tuned medical mind. Craig is relatively stoic – a trait I’ve seen him with far too much – and his lack of emotion from start-to-finish had me suspecting that perhaps he was Patient Zero behind this whole event. Northam manages to get his level of creep just about right, though he ends up sharing scenes mostly with infected who have nothing to say much less divulge any possible secrets on their blank, dead pan faces. Even Kidman ends up having to put up a front for a significant portion of the flick – not that she’s renowned for her expressiveness anyway – and that just doesn’t move the picture forward the way others have done before.
I think the biggest sin committed here might be The Invasion’s ending.
Unlike the previous attempts to bring the Finney story to life, this one – for reasons that really make little narrative sense – chooses to wrap up with an almost “happily ever after … but …” vibe. Kidman manages to save not only herself but all of mankind in her ungodly ability to survive (she is woman, hear her roar); and – despite stating earlier in the picture that she wanted nothing more than friendship from Ben – now appears happily married (or cohabitating, at least) and having adopted Gene (Eric Benjamin) who was left orphaned by the alien agenda. While she’s finishing breakfast and getting the boys ready for school, the hubby is reading the newspaper whilst listening to the endless parade of breaking headlines on the television. These various messages all converge around the impression that, somehow, mankind might’ve been – ahem – better off having succumbed to the wishes of these foreign invaders, that humanity itself is forever flawed by design, and that these aggressors maybe had a positive point in reducing every man, woman, and child to a hive mind.
Over the years, Science Fiction and its purveyors have rightfully earned a reputation for being hard on mankind. They castigate us for being consumers. They reprimand us for following dreams that clash with their own theories on utopia. They criticize us for standing for things like freedom and prosperity because it can’t be achieved with any practical measure of parity around the globe. So apparently the proposed solution to this in their eyes would be to relinquish any sense of personal liberty in favor of joining a galactic commune that would’ve been forced on us in the process. It’s definitely a cynical outlook but not surprisingly so these days as Science Fiction rarely sees joy in our future but instead worships collective doom.
A sad state of affairs, if you ask me …
If nothing else, The Invasion is an experience that might benefit from the consciousness evolving post-COVID. Initially, the alien’s campaign is painted as nothing more than an odd mutation of the seasonal flu, and I couldn’t help but wonder where oh where I’d recently heard that analogy before. (snicker snicker) Clearly, there are snippets in here – the questioning of drug trials, the efficacy of moving forward without sufficient research, and the like – that might be of greater significance today than they were back in 2007. One medical professional is even scolded just a bit for putting knowledge and welfare ahead of profitability, so it is very telling to see that perhaps such cynicism is cyclical, though we could use a fair share of it on a regular basis and I’d not be insulted.
Kidman – always a pleasure to look at – does what she can with the material, meaning that it never gives her all that much to do other than raise an eyebrow almost Vulcan-style when encountering some new development that defies her sharply tuned medical mind. Craig is relatively stoic – a trait I’ve seen him with far too much – and his lack of emotion from start-to-finish had me suspecting that perhaps he was Patient Zero behind this whole event. Northam manages to get his level of creep just about right, though he ends up sharing scenes mostly with infected who have nothing to say much less divulge any possible secrets on their blank, dead pan faces. Even Kidman ends up having to put up a front for a significant portion of the flick – not that she’s renowned for her expressiveness anyway – and that just doesn’t move the picture forward the way others have done before.
I think the biggest sin committed here might be The Invasion’s ending.
Unlike the previous attempts to bring the Finney story to life, this one – for reasons that really make little narrative sense – chooses to wrap up with an almost “happily ever after … but …” vibe. Kidman manages to save not only herself but all of mankind in her ungodly ability to survive (she is woman, hear her roar); and – despite stating earlier in the picture that she wanted nothing more than friendship from Ben – now appears happily married (or cohabitating, at least) and having adopted Gene (Eric Benjamin) who was left orphaned by the alien agenda. While she’s finishing breakfast and getting the boys ready for school, the hubby is reading the newspaper whilst listening to the endless parade of breaking headlines on the television. These various messages all converge around the impression that, somehow, mankind might’ve been – ahem – better off having succumbed to the wishes of these foreign invaders, that humanity itself is forever flawed by design, and that these aggressors maybe had a positive point in reducing every man, woman, and child to a hive mind.
Over the years, Science Fiction and its purveyors have rightfully earned a reputation for being hard on mankind. They castigate us for being consumers. They reprimand us for following dreams that clash with their own theories on utopia. They criticize us for standing for things like freedom and prosperity because it can’t be achieved with any practical measure of parity around the globe. So apparently the proposed solution to this in their eyes would be to relinquish any sense of personal liberty in favor of joining a galactic commune that would’ve been forced on us in the process. It’s definitely a cynical outlook but not surprisingly so these days as Science Fiction rarely sees joy in our future but instead worships collective doom.
A sad state of affairs, if you ask me …
The Invasion (2007) was produced by Warner Bros., Village Roadshow Pictures, Silver Pictures, and Vertigo Entertainment. DVD distribution (for this particular release) has been coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, one needn’t be to see that the provided sights-and-sounds – not all that old to begin with – look pretty spiffy with this high-definition presentation. Lastly, if you’re looking for special features? This is Arrow, and they don’t disappoint. I’m doing the dutiful copy-and-paste for their press release (previously published on Blu-ray.com) below:
For those who’ve missed this previously, I’m usually only provided a physical industry copy of the disc. As such, I can’t speak to the efficacy on any physical components here – booklets, sleeves, artwork, etc. For those things, I always remind readers of the usual “buyer beware” rule.
Alas … only Mildly Recommended.
While The Invasion (2007) is a difficult picture to like, I could also make the case that it’s hard to outright dislike it, too. Though I wasn’t moved nor drawn in to Kidman’s struggle at any point, I wasn’t put off, either. My problem could be that it hit just enough of the right beats to keep me watching but not wondering, certainly not like the ’56 or ’78 wild rides. Sadly, it’s difficult for me to surmise where it all goes awry because a bright spot would pop up just about the time I was convinced it wasn’t worthy of my time or attention. (Setting an Invasion film – if even only briefly – around Halloween? Are you kidding me? Why hasn’t someone done that before?) It just never quite rises to the occasion, a sad state of affairs given the absolutely undeniable power of the original source material.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary 4K UltraHD Blu-ray of The Invasion (2007) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- High-definition presentation of the film
- Original lossless DTS-HD MA 5.1 audio
- Optional English subtitles for the deaf and hard of hearing
- Brand new audio commentary by film critics Andrea Subisati and Alexandra West, co-hosts of The Faculty of Horror podcast
- Body Snatchers and Beyond, a new visual essay by film scholar Alexandra Heller Nicholas
- That Bug That's Going Around, a new visual essay exploring The Invasion as pandemic prophecy by film scholar Josh Nelson
- We've Been Snatched Before, an archival featurette from 2007
- The Invasion: A New Story, an archival featurette from 2007
- The Invasion: On the Set, an archival featurette from 2007
- The Invasion: Snatched, an archival featurette from 2007
- Theatrical trailer
- Image gallery
- Illustrated collector's booklet featuring new writing by film critics William Bibbiani and Sally Christie
- Reversible sleeve with original and newly commissioned artwork by Tommy Pocket
- Double-sided fold out poster featuring original and newly commissioned artwork by Tommy Pocket
For those who’ve missed this previously, I’m usually only provided a physical industry copy of the disc. As such, I can’t speak to the efficacy on any physical components here – booklets, sleeves, artwork, etc. For those things, I always remind readers of the usual “buyer beware” rule.
Alas … only Mildly Recommended.
While The Invasion (2007) is a difficult picture to like, I could also make the case that it’s hard to outright dislike it, too. Though I wasn’t moved nor drawn in to Kidman’s struggle at any point, I wasn’t put off, either. My problem could be that it hit just enough of the right beats to keep me watching but not wondering, certainly not like the ’56 or ’78 wild rides. Sadly, it’s difficult for me to surmise where it all goes awry because a bright spot would pop up just about the time I was convinced it wasn’t worthy of my time or attention. (Setting an Invasion film – if even only briefly – around Halloween? Are you kidding me? Why hasn’t someone done that before?) It just never quite rises to the occasion, a sad state of affairs given the absolutely undeniable power of the original source material.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary 4K UltraHD Blu-ray of The Invasion (2007) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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