Invasion of the Body Snatchers

1978

Action / Horror / Sci-Fi

Invasion of the Body Snatchers (1978) download yts

Synopsis


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Director

Cast

Donald Sutherland as Matthew Bennell
Robert Duvall as Priest on Swing
Jeff Goldblum as Jack Bellicec
Leonard Nimoy as Dr. David Kibner
720p 1080p
850.21 MB
1280*720
PG
23.976 fps
1hr 55 min
P/S Unknown
1.76 GB
1920*1080
PG
23.976 fps
1hr 55 min
P/S Unknown

Movie Reviews

Reviewed by GroovyDoom 9 / 10

"They grow out of those PODS!"

SPOILERS

Even more than the original film, which channeled a mounting zeitgeist of suspicion in a way that some found to be vaguely reminiscent of McCarthyism, the 1978 "Invasion of the Body Snatchers" relies on a paranoia that was distinctly related to the 1970s. In other words, it's re-envisioned as my favorite genre of all: what I call the "70s Doom Film".

"Invasion of the Body Snatchers" presents an adventure that has few equals in movies of this type, an adventure that finds our main characters staying awake together at night, dashing down dark alleys and hiding behind shipping crates, whisking away in taxicabs, and hiding under desks in darkened offices after hours. Philip Kaufman has given us a vision of an entire city gradually giving way to a conspiracy helmed by extraterrestrial plant life that has randomly fallen from the sky to take root on the Earth, duplicating human beings (and destroying them in the process).

The reason this movie is so effective, and one of the reasons why I love it so much, is that the characters are all lovably odd. Donald Sutherland's Matthew seems like a real stone-faced health inspector who berates a snobbish restaurateur about finding a "rat turd" in the grain, until you see him talking to Elizabeth and cracking jokes about the job. Elizabeth, played by the wonderful Brooke Adams, is a little offbeat, laughing nervously a lot and rolling her eyes in a bizarre manner. Jack and Nancy Bellicec (Jeff Goldblum and Veronica Cartwright) are completely off-the-wall, Jack being the tortured poet and Nancy buying into outlandish theories of alien colonization and health food while compulsively reading novels written by authors who were more than likely tripping on acid. We believe them as odd but genuine characters in real situations, particularly the touching romance between Elizabeth and Matthew. Specifically, they are people with oddball characteristics in danger of having those differences stripped bare by the alien pod life. This film is a real credit to all of the talent involved in it.

The tense and increasingly grim third act finds our heroes on the run from people whom they may have suspected all along of wanting to harm them. Shots of prowling police are interspersed with seemingly ordinary people who have suddenly taken on an ominous attitude. The fact that a good portion of it takes place without dialog shouldn't be a liability, but it is here that the film begins to bog down a bit, and I think it's because Kaufman so effectively portrays the exhaustion of the characters that this begins to transfer to the audience as well. Like the contagious quality of a yawn, the desperation that Matthew and Elizabeth feel becomes pervasive.

What seals this movie's place in history as something that freaked a lot of people out in the 70s is the fact the conclusion is so downbeat and agonizingly bleak. There is no happy ending for anybody; the characters we grow to like are systematically worn down until their fight is gone and their very need to sleep forces them to succumb. The tragedy of Elizabeth's conversion to a pod seems very real, especially when we see her soulless clone rising up out of the weeds like an ugly vine. The starkness of her nudity, and the utter disregard that the other pods have for it, strikes at a bleakness that is far more terrifying than anything else in the film. Likewise, the final confrontation between the converted Matthew and the still-human Nancy is chilling not only because of the horrendous scream that she is met with, but also because of the naiveté that does her in. As she crosses the street, you can see her smiling at Matthew in a conspiratorial way, never dreaming that he could have become a pod himself. The way his face morphs into the grimace of one of the pod people represents a betrayal of the worst kind. It suggests the very real fear that even our most trusted friends and lovers can suddenly become different overnight, turning on us for reasons unknown.

Kaufman's dark fantasy has tapped into these emotions with stunning ease, and he has created a beautiful, heartbreaking, and lyrical film that is loaded with good stuff. Any serious fan of film or the horror/sci-fi genre in particular should find this a really witty, funny, and sometimes horrifying experience.

Reviewed by Brandt Sponseller 8 / 10

Close enough to get a cigar, but not as good as the original

Shortly after Elizabeth Driscoll (Brooke Adams) discovers a strange plant in her San Francisco-area yard that she cannot identify, her boyfriend begins acting strangely--he looks the same, but Elizabeth swears he's a different person. Before long, more and more people are claiming the same thing about their friends and relatives. Just what is going on? Although not quite as good as the original Invasion of the Body Snatchers (1956), this remake is very interesting and well worth a watch. Some things it does better than the original, although slightly more is not done as well. But it is full or intriguing ideas, some beautiful cinematography, and quite a few quirky charms.

One oddity about this film is that it seems to assume that very few people will watch who aren't already familiar with the original. Scripter W.D. Richter and director Philip Kaufman give away the "twist" immediately, and there are a number of statements from characters in this film (such as the first time we hear the advice to not fall asleep) that only make sense if one already knows from Don Siegel's original just why they shouldn't fall asleep. For this reason, I strongly recommend that anyone interested in this film who hasn't seen it yet should make sure they watch the original first.

The opening shots, which firmly set this remake into sci-fi territory, are a great idea, even if the execution is somewhat questionable. I'm not sure that Kaufman's "art gel" works, and the way it moves through space, as if blown by trade winds, is slightly hokey. But I'm willing to forgive a misstep if it's in service of a great idea, and especially if the misstep is the result of budgetary limitations.

Early in the film, the major asset is the cinematography. There is an excellent, slow tracking shot down a hallway, where we only see our main character by way of her feet and a slight reflection in a window. There are a lot of great "tilted" shots. There are a lot of subtle lighting effects to set mood, and a just as many subtle instances of symbolism for the horrors to come.

The cast, featuring Adams, Donald Sutherland, Jeff Goldblum, Leonard Nimoy and Veronica Cartwright, is an interesting combination of stars who tend to give idiosyncratic performances. Kaufman exploits the collection of personalities well, although occasionally gives us odd "everyone talk at once" scenes which can verge on the brink of annoying. Although I'm not usually the biggest fan of Goldblum (in some roles, such as The Fly, I like him, in some roles he tends to irritate me), I noted an odd similarity between him in this film and an actor and performance I'm much more fond of--David Duchovny and his X-Files character Fox Mulder.

Speaking of that, there is a strong X-Files vibe to this film overall. Whereas the original Invasion had thinly veiled subtexts of fear and doubts of "The Other"--whether politically-rooted (the common analysis is that the original Invasion was a subtext for U.S. fears of communism), religiously-rooted (some see it as a parable about cults, or religions in general) or simply about personal identity (in a philosophical sense of "Who am I/are you?" "What makes one oneself?"), Kaufman's take has stronger subtexts of encroaching mental illness--fear of losing one's mind and a generalized, "clinical" paranoia.

Given that difference, it's perhaps odd that there are so many similarities between the two films. The character structure and relationships are largely the same, with some mostly insignificant differences, including slightly different occupations. There are many scenes taken almost verbatim from the original film, often only with differences of setting, but staged the same, with similar scenarios and occasionally identical dialogue. There is even a wonderful moment where Kevin McCarthy, star of the original film, comes running down the street, screaming that we're all doomed.

A number of quirky moments push the value of Kaufman's film up a notch. These are sprinkled throughout the film, but some highlights are a Robert Duvall cameo as a priest inexplicably on a swingset next to toddlers, the "mud bath" parlor, a brief spurt of marvelous, Zappa-sounding avant-garde classical as we witness a chase down a staircase, and a greenhouse in a shipping yard, through which Elizabeth eventually strolls naked, casually walking by employees. The "creature" effects may be better here than in the original, but they are not more effective for that.

But overall, this is a great film. Just make sure you don't miss the superior original.

Reviewed by ccthemovieman-1 9 / 10

Eerie, Suspenseful & 'Classy' Horror/Sci-Fi Effort

This is a solid horror/sci-fi story with good production values. Those values include outstanding direction by Philip Kaufman, camera-work by Michael Chapman and acting. The cast of main characters was comprised of Donald Sutherland, Brooke Adams, Leonard Nimoy, Jeff Goldblum and Veronica Cartwright. Of the group, Sutherland had the most lines and was the most impressive. All of it added up to a pretty classy film, a lot more than you'd except reading the movie title.

There was some profanity and nudity so maybe it wasn't totally classy, but the profanity was light and the nudity was a few shots of Adams' breasts.

The movie clicked because it built up the suspense beautifully, and proved you don't need a lot of violence and gore to scare the viewer. Too bad modern filmmakers of horror films can't seem to understand that. In fact the scariest thing of the movie - and it WAS scary - might have been the eerie noises emanating from the "re-born" humans.

The photography is good and I loved the facial closeups and interesting camera angles. The film is a visual treat. The original film in 1956 is a good one but it's generally conceded this re-make is superior. The star of that first film, by the way - Kevin McCarthy, makes a cameo appearance in here. That was a nice touch.

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