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Editorial Reviews
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The Manchurian Candidate, a classic of paranoid cinema from the 1960s, gets a cunning update, rife with hot-topic references to corporate war profiteering and electronic voting machines. Major Ben Marco (Denzel Washington, Training Day) has been haunted by nightmares ever since a firefight during the first Gulf War--a battle in which he believes he was saved by the heroism of Sgt. Raymond Shaw (Liev Schreiber, Kate & Leopold). But Marco's nightmares suggest otherwise and drive him to investigate what happened, which may threaten Shaw's candidacy for vice-president. Meryl Streep plays Shaw's mother, a senior senator who manipulates everyone around her with an iron will and a sharp tongue. The Manchurian Candidate loses steam towards the end, but up until then director Jonathan Demme keeps the movie rolling fluidly, crafting some creepy paranoia of his own while Streep tears into everything in her path. --Bret Fetzer
From The New Yorker
The famous original, from 1962, written by George Axelrod, from a Richard Condon novel, and directed by John Frankenheimer, was a satire of Cold War anxieties that cut both ways, attacking both the far right and the far left. Acidulous and brazenly absurd, the movie was a one-of-a-kind mainstream picture, with startling oddities that people talked about for years. This updated version, written by Daniel Pyne and Dean Georgias and directed by Jonathan Demme, is doggedly, wretchedly earnest. A shadowy big company reminiscent of Halliburton or the Carlyle Group attempts to take over the White House by placing a computer chip in the brain of a war hero turned congressman (Liev Shreiber) who is under the control of his reactionary mother (Meryl Streep), a senator unaccountably made up to look like Hillary Clinton. What was satire of paranoia in the old movie has been turned into just plain paranoia. The bad memories of the hero (Denzel Washington), who suspects that the war hero is a fake, are accompanied by the conventional horror-film frights of painted faces, spooky doctors, and smoky, distorted cinematography. The movie is overwrought and unfocussed, and there isn't a joke in it anywhere. -David Denby
Copyright © 2006 The New Yorker
The Manchurian Candidate, a classic of paranoid cinema from the 1960s, gets a cunning update, rife with hot-topic references to corporate war profiteering and electronic voting machines. Major Ben Marco (Denzel Washington, Training Day) has been haunted by nightmares ever since a firefight during the first Gulf War--a battle in which he believes he was saved by the heroism of Sgt. Raymond Shaw (Liev Schreiber, Kate & Leopold). But Marco's nightmares suggest otherwise and drive him to investigate what happened, which may threaten Shaw's candidacy for vice-president. Meryl Streep plays Shaw's mother, a senior senator who manipulates everyone around her with an iron will and a sharp tongue. The Manchurian Candidate loses steam towards the end, but up until then director Jonathan Demme keeps the movie rolling fluidly, crafting some creepy paranoia of his own while Streep tears into everything in her path. --Bret Fetzer
From The New Yorker
The famous original, from 1962, written by George Axelrod, from a Richard Condon novel, and directed by John Frankenheimer, was a satire of Cold War anxieties that cut both ways, attacking both the far right and the far left. Acidulous and brazenly absurd, the movie was a one-of-a-kind mainstream picture, with startling oddities that people talked about for years. This updated version, written by Daniel Pyne and Dean Georgias and directed by Jonathan Demme, is doggedly, wretchedly earnest. A shadowy big company reminiscent of Halliburton or the Carlyle Group attempts to take over the White House by placing a computer chip in the brain of a war hero turned congressman (Liev Shreiber) who is under the control of his reactionary mother (Meryl Streep), a senator unaccountably made up to look like Hillary Clinton. What was satire of paranoia in the old movie has been turned into just plain paranoia. The bad memories of the hero (Denzel Washington), who suspects that the war hero is a fake, are accompanied by the conventional horror-film frights of painted faces, spooky doctors, and smoky, distorted cinematography. The movie is overwrought and unfocussed, and there isn't a joke in it anywhere. -David Denby
Copyright © 2006 The New Yorker
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