A grief-stricken mother takes on the LAPD to her own detriment when it stubbornly tries to pass off an obvious impostor as her missing child, while also refusing to give up hope that she will find him one day.
When his army unit was ambushed during the first Gulf War, Sergeant Raymond Shaw saved his fellow soldiers just as his commanding officer, then-Captain Ben Marco, was knocked unconscious. Brokering the incident for political capital, Shaw eventually becomes a vice-presidential nominee, while Marco is haunted by dreams of what happened -- or didn't happen -- in Kuwait. As Marco (now a Major) investigates, the story begins to unravel, to the point where he questions if it happened at all. Is it possible the entire unit was kidnapped and brainwashed to believe Shaw is a war hero as part of a plot to seize the White House? Some very powerful people at Manchurian Global corporation appear desperate to stop him from finding out. Written by
When Marco boards the Amtrak train from DC, the conductor announces the station stops in the incorrect order: Baltimore, Philadelphia, Wilmington, New York. Wilmington comes before Philadelphia. See more »
Are we friends, Ben? I wanna believe we were friends.
We are connected and that's something nobody can take from us. You coulda had me locked up, but you didn't. That's proof that there's something deep inside. There's a part that they can't get to. And it's deep inside of us. And that's where the truth is.
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Less powerful, less edgy, and less intelligent than the original.
Three months ago I watched the original Manchurian Candidate on DVD. I was amazed on how good this movie is, and how well it holds up after 42 years of its release in movie theaters.
So, yesterday when I watched the 2004 version directed by Jonathan Demme it was impossible for me not to compare the two films.
Without the existence of the original, Demme's effort could be defined as a good (not outstanding) political thriller and it's easy to think that this definition is compatible with the general opinion of today's audiences.
But (a big but) in reality there is an original, and it is so good, so brave, and so well written that this new version almost feels pointless.
In adapting the story to modern day Jonathan Demme made more wrong choices than good ones diminishing the power and intensity of the original.
This remake took out some key dramatic elements that work marvelously in the original film inserting some new and poorly written plot twists changing and damaging the dramatic resolution.
This version is inferior in almost every level (the only exception is the acting). It is less powerful, less edgy, and less intelligent.
Fortunately for Demme the original picture is not as well known as classics like 'Casablanca' and this will allow his film to find a moderate positive acceptance.
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