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.
All Daphne Reynolds (Amanda Bynes) has ever really wanted is to meet the dad she's never known. Growing up in New York with her loving and free-spirited musician mother Libby (Kelly Preston) she makes her mom tell the story of her parents' whirlwind romance over and over. How much in love they were but how unbeknownst to him his aristocratic family drove Libby away. Now at 17 Daphne is determined to live the fantasy of the father-daughter relationship she craves. Arriving in London she finds out pop is Lord Henry Dashwood (Colin Firth) a high-profile politician who is about to marry the snooty Glynnis (Anna Chancellor). Needless to say Henry is dumbfounded to discover he has a daughter and together with his regretful mother Lady Jocelyn (Eileen Atkins) they open Dashwood manor to the spirited girl. As Daphne and Henry tentatively test their newfound relationship the teen has a hard time fitting in with stuffy British high society and soon begins to jeopardize her father's political career. She tries to suppress her bubbly personality and turn herself into a respectable debutante but Daphne soon realizes she's giving up too much of herself to be Henry's daughter. The question is will Henry realize it is he who is not made for the suffocating life he's been shoved into and reclaim his daughter and the only woman he has ever loved? Oh stop the suspense is killing us.
The 17-year-old Bynes is already a brand name in comedy--at least to the 'tween set who from the time Bynes was 10 years old have enjoyed her slapstick antics on Nickelodeon's variety show All That her own variety show The Amanda Show and her current WB sitcom What I Like About You. Bynes is all grown up now and as the cute sexy--and klutzy--Daphne she excels at performing pratfalls and infuses as much charm as she can into the character. It is clear however the young comedian has some work to do before becoming a good actress. Thank goodness she is surrounded by talented actors such as Atkins (Gosford Park) and even Preston who does a nice job as the bohemian Libby. Yet it's Firth (Bridget Jones's Diary) who truly elevates the film when on-screen and helps Bynes reach those dramatic highpoints. He has the uncanny ability to turn even the most insipid of parts into something worth watching. His best moment as Henry is when he tries on some old leather pants and dances around in his opulent bedroom pretending to be a rock star. It's very un-British of him--and it's brilliant.
To put it mildly What a Girl Wants really looks bad. TV director Dennie Gordon obviously hasn't mastered the art of filmmaking in any way because not only are many of the shots blurry and poorly lit often times it seems Bynes is shot through an entirely different softer lens than the other actors. Usually that kind of treatment is given to older actresses who want to hide all the little imperfections but for a 17-year-old cutie? Obviously it's a mistake. As well the sugar-pop theme gets out of hand trying way too hard to appeal to the hip and cool 'tweeners. To a rockin' soundtrack look how Daphne can turn a pretentious coming-out ball into a choreographed dance number! Or see how she can try on different '70s outfits and funky glasses while her father amusedly looks on! (Even Firth looks uncomfortable). Sure 11-14-year-old girls are going to love it especially the sweet love story between Daphne and a local London musician Ian (Oliver James). It's only the heart of the story--the father-daughter relationship--that keeps the film from falling into just another Teen Beat tableau.
Bobby Garfield (David Morse) returns to his small hometown to attend the funeral of his childhood friend and remembers the fateful summer in 1960 when his whole world changed. The story flashes back to when 11-year-old Bobby (Anton Yelchin) and his best friends Carol (Mika Boorem) and Sully-John (Will Rothhaar) capture the pure joy of youthfulness. When a mysterious stranger named Ted Brautigan (Anthony Hopkins) moves upstairs and starts to pay attention to Bobby the boy suddenly realizes what's truly missing from his life--the love of a parent. Bobby's mother Liz (Hope Davis) is embittered by the death of Bobby's father and shows little compassion for her son's growing needs. Ted fills a void with the boy opening his eyes to the world around him and helps Bobby come to terms with his real feelings for Carol--and his mother. But Ted also has some deep dark secrets of his own and Bobby tries hard to stop danger from reaching the old man.
The performances make the film especially in the genuine camaraderie of the kids. Yelchin Boorem and Rothhaar never deliver a false move with an easiness that makes us believe we are simply watching three 11-year-old children grow up together. Yelchin in particular is able to get right to the heart of this young boy who misses his father and clings to the only adult who will listen. And his scenes with Boorem simply break your heart. (Davis) does an admirable job playing a part none too sympathetic. She manages to show a woman whose been beaten down but who does truly love her son in her own way. Morse too is one of those character actors you can plug in any movie and get a performance worth noting. In Hearts you want to see more of him. Of course the film shines brightest when Hopkins is on the screen. It may not be an Oscar-caliber performance but the actor is unparalleled in bringing a character to life--showing the subtleties of an old man looking for some peace in his life.
If you are expecting the Stephen King novel you may be disappointed. Screenwriter William Goldman and director Scott Hicks (Shine) deftly extracted the King formula of telling a story through a child's eye and explaining how the relationships formed as a child shaped the adult later. Hicks did an amazing job with his young actors especially Yelchin and Boorem. But where the novel continued into a supernatural theme explaining Brautigan's fear of being captured by "low men in yellow coats" (a reference to King's The Dark Tower series) the movie downplayed the mystical elements instead giving real explanations for Brautigan's man-on-the-run. That was the one problem with Hearts--we needed more danger. Introducing men from another dimension may not have been the way to go but had there been more tension the film would have resonated more especially when Bobby risked his own safety to save Ted.