What no "giant sea pods" this time? Instead The Invasion skews the Body Snatchers scenario by making the alien invasion a virus rather than plant life. Said virus which comes to Earth via a mysterious crash of a space shuttle is transmitted by some form of bodily fluid-to-bodily fluid connection. For example throwing up into people's faces or coffee cups is a fun way to spread the disease. The end result however is the same: Once the infected person falls asleep they undergo a transformation and wake up looking the same but are unfeeling and inhuman—and ready to organize. As the infection spreads and more and more people are altered there are a few humans left fighting for their lives including psychiatrist Carol Bennell (Nicole Kidman) and her doctor friend Ben Driscoll (Daniel Craig). Carol’s only hope is to stay awake long enough to find her young son who may hold the key to stopping the devastating invasion. But we won’t tell you how. OK it has something to do with an immunity but that’s all we are going to say. Nicole Kidman has had a string of bad luck since winning that damn Oscar for The Hours. One wonders if maybe the golden statuette might actually be a curse (Cuba Gooding Jr. anyone?). Still regardless of the movie--be it Bewitched The Stepford Wives or Fur: An Imaginary Portrait of Diane Arbus--Kidman manages to turn in a decent performance. The same goes for The Invasion. Her mother bear act is quite believable as she races to find her son (played with spunk by Jackson Bond) while trying to stay awake and pretending to be cold and unemotional among the pod people--oh excuse me the virally infected people. You root for her all the way. Craig doesn’t have as much to do but still delivers when it counts. In a supporting role Jeremy Northam does a nice job as Carol’s ex-husband a CDC doctor who is one of the first to get infected. As does the always good Jeffrey Wright as a very clever genetic scientist. Even Veronica Cartwright one of the survivors in the 1978 Invasion of the Body Snatchers makes a cameo as one of Carol’s patients who tells her “My husband isn’t my husband!” Famous last words. Body snatching must be a popular water-cooler topic at the movie studios. Starting with the 1956 sci-fi classic Invasion of the Body Snatchers in which Kevin McCarthy barely escapes his small town with his life running into highway traffic screaming “They're here already! You're next! You're next You're next...” there have been at least two other versions including the above-mentioned 1978 film and the 1993 film Body Snatchers. To its credit The Invasion switches things up a bit nixing the pods and making it more relevant to our current socio-political climate. It even begs the question: Could we be better off if we didn’t have emotions? But the movie is still mired by its derivativeness and too-pat ending—and it also apparently had problems getting off the shelf. Originally wrapped in early 2006 rumor has it the studio didn’t like German director Oliver Hirschbiegel’s original cut and brought in Matrix’s Andy Wachowski and Larry Wachowski for rewrites and James McTeigue (V for Vendetta) to direct the new scenes. Again to its credit The Invasion surprisingly feels cohesive despite all the different influences. Let’s just say whoever came up with the tense car chase in which Carol tries to throw off the pod people (it's just more effective calling them that) draped all over the car kudos to them.
Based on the life of New York City police detective Vincent LaMarca City by the Sea vacillates between a true-crime mystery and a family drama. As Vincent (De Niro) investigates the murder of a Long Beach N.Y. drug dealer it becomes painfully clear that his estranged son junkie Joey (James Franco) known on the street as Joey Nova is the prime suspect. Vincent is of course taken off the case but when his partner is killed while pursuing Joey the search becomes the Long Beach police department's top priority--and saving his son from a police department eager for cop-killer blood becomes Vincent's. The fact that Vincent discovers that he has a grandson Angelo doesn't help the situation especially when Joey's supposedly clean ex-junkie girlfriend (Eliza Dushku) leaves the kid at Vincent's apartment when she goes to buy cigarettes and fails to return. Vincent who's always defined himself against his criminal father finds himself forced to decide whether he's a cop or a father and grandfather first a quandary that naturally leads to some pretty compelling if slightly melodramatic scenes for De Niro. Interestingly despite the somber subject matter and the dramatic tone the film still manages a few lighthearted moments which really save it from the pitfalls of its own seriousness.
Sometimes a great cast can make even a mediocre film good and that's what happens in City by the Sea. Even though the dialogue they're given to work with isn't always completely natural--in fact sometimes it's downright contrived--the cast still manages to create a compelling final product. You just can't go wrong with De Niro as a hardened streetwise emotionally distant cop and he makes everyone opposite him look great especially relative newcomer Franco (whose performance as a young James Dean in TNT's James Dean earned him some critical kudos of his own). The young actor swaggers onto the scene like a very young Bob Dylan a hollow-body vintage guitar slung across his back. Of course he's selling it for drugs not heading for a gig. Patti LuPone really sinks her teeth--and catty claws--into her role as LaMarca's bitter ex-wife creating some of the film's most dynamic scenes while Frances McDormand lends her subtly expressive style to the most emotional moments as De Niro's sometime girlfriend Michelle.
Director Michael Caton-Jones delves into the dark side of his imagination with images of a desolate Long Beach: graffiti-covered walls crumbling casinos and a rickety boardwalk--all the detritus of a once-thriving tourist destination. In this grim setting Joey wanders virtually empty streets and beaches where as a child he played happily; meanwhile in Manhattan Vincent is wandering his streets in much the same way. It's an interesting device Caton-Jones uses to show the similarities between the two men and it's as effective at establishing their relationship as the relatively few scenes they have together. At moments like this when the film is making its emotional impact visually it shines; unfortunately City by the Sea relies a little too often on its average dialogue and does a little too much telling and not enough showing.