Weekly Review -- Fourth time a charm?

The Invasion (2007) -- There is usually much to analyze about remakes, not the least of which is their relation to the original film in the context of a timely release and the shifts in the screenplays' twists and turns. In the case of The Invasion, there are already three predecessors to draw on, each with its own thematic quirks and era-specific details. Though far from perfect, this Oliver Hirschbiegel version manages to keep the gloominess of Jack Finney's novel, while infusing it with several unexpected elements and putting a new spin on the tale's symbolism. Washington psychiatrist Carol Bennell (Nicole Kidman) has been noticing drastic changes in people around her lately. Frightened by something foreign and unexplainable, she turns to her best friend, Ben Driscoll (Daniel Craig), for assistance. They soon realize that their world is the target of an alien invasion which threatens to turn human beings into soulless automatons. Racing against time, they attempt to save themselves and life as they know it, all the while uncovering more and more about the key to resolving the bleak situation. This version is almost moodier than the 1978 Invasion of the Body Snatchers, if that is even a possibility. Hirschbiegel's scenes are wrapped in semi-dark, desolate indigo hues of an urbania on the verge of decay, creating a top notch atmosphere for this kind of story. However, the film manages to overindulge in its own story on occasion, as in the press conference scene -- we really did not need to see those cocktails -- and the sequence in which Bennell and Driscoll discover the cocoon of a duplicate, a scene constructed in a much more sinister way in the 1978 version. The screenplay feels abrupt in places, especially towards the ending, and the resolution arrives too quickly to wrap up all the stories that were launched. Two aspects of the new perspective that I liked were the emphasis on the motherly instinct, as well as the subtle hints at the next generation inheriting a world ravaged by wars and devoured by its own technological accomplishments. Kidman is appropriately perturbed in the role of Carol Bennell; particularly touching, with good reason, are the scenes in which she is trying to protect her son. Craig's Driscoll provides stability to her uneasiness, and the underused Jeffrey Wright adds a dose of compassion to his character, Dr. Galeano. I enjoyed the chemistry between Kidman and Craig very much and wish they had shared more scenes; it was also fantastic to see Craig and Jeffrey Wright in another film, after seeing them both in Casino Royale. Even though it is not the best remake or greatest sci-fi film, The Invasion is an interesting film to see, for an updated take on the original story, good casting and the grim ambiance.

7/10

Weekly Review -- Chasing revenge

The Brave One (2007) -- Revenge films can usually take one of two directions. They can either take the vindictive violence route, which sometimes makes a film forget its own realism in the process (makers of Death Sentence, I am looking at you), or they can make us sympathize fully with the protagonist's plight. Due to the extreme nature of the subject matter, there is typically no middle ground. However, Neil Jordan's The Brave One manages to thread the fine line between the two paths, never forgetting where it comes from, while being contemplative and honest. New York radio host Erica Bain (Jodie Foster) has a job that she loves and the man of her life (Naveen Andrews). Night after night, she narrates her love for her city on air, her perceptions nestled in the welcoming vibe and colorful details of the Big Apple. Everything changes on a summer evening, when Erica and her fiancé are brutally attacked and left for dead. Erica is the only survivor, her outlook on life transformed forever. Unable to take the violence that she now sees on every corner, she sets out on a mission to rid the city of crime and fear. The vigilante murders are being closely investigated by detectives Mercer (Terrence Howard) and Vitale (Nicky Katt), with Mercer and Erica occasionally running into one another and forming a guarded friendship. The question is, how does Erica get out of this desperate tailspin? The screenplay by Roderick Taylor and Bruce A. Taylor explores the questions of right and wrong, law and justice, while never giving a one-sided, myopic view of the events unfolding. Erica is a conflicted shell of the human being she was before the attack, who questions her intent throughout the proceedings. Foster is excellent in the role, painting a realistic picture of a survivor unable to find her way after her world falls apart. At the same time, Howard creates a measured portrayal of a character who balances out Erica's anguish, giving Mercer subtle nuances of intelligence and empathy. Mercer is also a conflicted individual, who understands and lives by societal rules, but is frustrated by the holes in the very law that he protects and that often lets offenders slip through. The meaningful interactions between the two characters bring a sense of warmth amid the devastating situations around them. I appreciated the intentionally abrupt shifts in the cinematography as well, the tone of which goes from warm domestic hues to steely blue urban screams. Considering its themes, The Brave One is a surprisingly quiet piece that can be seen and interpreted from many angles -- as a reflective drama, an engaging thriller and a personality study -- and a film that is equally effective from all standpoints.

8/10