rms125a This 1978 remake was as good as the original but not as tight and compact. Otherwise, it is just as scary and even more moving at times (when Brooke Adams' human form collapses into dust, for example) and just as well acted (if not better) than the original. Yes, the urban setting is quite distinct from the small-town setting of the original but it works in a different way, and given the anonymity and coldness of large cities, it is a perfectly logical setting for a dystopian film. The hostile ranks of sinister, dark, faceless, soulless figures in humanoid form and the disembodied camera-lit faces of fearful people in hiding from an increasingly unfolding terror stand out. A city, universally acclaimed for its beauty (none of which shines through the dystopia) becomes, increasingly, a prison camp or colony in a bleak and turbulent void under permanent grey skies. The performances are top notch, but I would draw attention away from the better-known stars to give special mention to Canadian actor Art Hindle, whose performance is brilliant. Only very briefly seen as the sweet but flawed human Geoffrey, Elizabeth Driscoll's love interest, his post-transformation Geoffrey is chilling. Scheming, sidling, subarctically cold, he makes one realize precisely how and why Elizabeth is so distraught at his inexplicable change. Whether going off to a sinister "meeting" in the dark of night or in closeup, avoiding Elizabeth even as he keeps trying to get her to sleep and transform, his eyes are like almost orbless sockets (wonder how he managed to do that) as devoid of humanity as any alien or predator or Klingon or werewolf but scarier because of what we know has happened and what we fear will happen as the film continues to unfold nightmarishly. Speaking for myself, I missed the human Geoffrey-- a character barely introduced -- more than I later regretted the loss of characters with far more screen time. Such was Hindle's quiet brilliance here.Yes, the ending is a shock but it shouldn't be. When you see the film again and review everything that happens once the daylight returns in the last scene it really is not a surprise. It could not unfold as it does without the shocker being unavoidably true. It's just that there is a natural audience optimism based on the way most sci-fi (even horror sci-fi) films end which creates a cognitive dissonance or tension between what the viewer is expecting (especially given the ending of the 1956 film version) and what the viewer gets in this case.

bookandcandle I was looking forward to a remake of Invasion of the Body Snatchers, but as the film progressed I realized it was mostly filmed in the dark, making the scenes difficult to see and enjoy. It is a cheap movie when you don't see full scenes and background. And to add to that, the ending was very disappointing and even darker. Will never watch this film again. Can't even come close to the original.

Anonymous Andy (Minus_The_Beer) On the short list of truly great horror/sci-fi remakes, one that often gets left out is the 1978 version of "Invasion of the Body Snatchers." Pre-dating John Carpenter's "The Thing" and David Cronenberg's "The Fly" (two films that set an extremely high bar for all other remakes), Director Philip Kaufman's take is the second adaptation of Jack Finney's novel, "The Body Snatchers" and is a real head-spinner, even forty years after its release. It's influence -- while not widely reflected on -- can be heavily felt in the sci-fi leaning pop culture landscape that would sprawl out in its wake.Boasting eye-popping special effects that still look amazing (and, at times, repulsive) even today, "Invasion of the Body Snatchers" is no doubt a cut above the average studio horror fare of the time, carrying an air of weight and sophistication that puts it in line with a film like Ridley Scott's "Alien." Kaufman slowly but surely raises the tension and paranoia with a steady hand, effortlessly engaging the viewer from beginning to end with characters that look and feel real, caught up in a surreal experience that looks and feels like a waking nightmare. The film is as dread-filled as it is, at times, visually arresting. Of course, the film also boasts an impressive ensemble cast, lead by a heavily permed Donald Sutherland and a down-to-Earth and charming Brooke Adams. Rounding out the cast are Veronica Cartwright (also of "Alien"), Jeff Golblum giving it all the Jeff Goldblum he can give, and Leonard Nimoy, stepping away from Spock for a change of pace. All five main leads look and feel real, selling the dread perfectly, thus sealing the deal.The kind of film that will leave certain images (and sounds) burned into your brain for years after the fact, "Invasion of the Body Snatchers" is absolute, must-see viewing for genre fans of all shapes and sizes. Kaufman's efforts have surely stood the test of time, and the movie just grabs you by the jugular and refuses to let up until its bone-chilling, music-less end credits. The term "they don't make 'em like they used to" sure gets thrown around a lot, but in this case it is more than apt. One of the best remakes of all- time and definitely one of the most criminally under-rated movies of its era in general.

Patrick Nackaert In this remake of the 50s horror movie, a health inspector witnesses the invasion of alien 'body snatchers', who capture human beings.Despite being a remake, the film is well-adapted to a 70s public. The scenery, the dialogues and especially the music turn this movie into a rather enjoyable thriller with a good portion of suspense.Often, it has the same feel as the 70s zombie movies. Longer shots, time for showing the environment, and the music that nowadays sounds very offbeat to a horror movie. Also, the camera movements are sometimes experimental for that time.The production managed to get talented actors, who add depth that is usually lacking to nowadays' horror movies. Already seen the 50s movie? It's still enjoyable. The story was rewritten so that there are still plenty of surprising scenes.All in all, it is good entertainment and a must for 70s horror movie fans.