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Body Snatchers

1993

Directed by Abel Ferrara

Imagine... you're gone and someone else is living inside your body.

When Environmental Protection Agency inspector Steve Malone travels to a remote military base in order to check for toxic materials, he brings his family along for the ride. After arriving at the base, his teenage daughter Marti befriends Jean Platt, daughter of the base's commander, General Platt. When people at the base begin acting strangely, Marti becomes convinced that they are slowly being replaced by plant-like aliens.

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Terry Kinney Meg Tilly Gabrielle Anwar Reilly Murphy Billy Wirth Christine Elise R. Lee Ermey Kathleen Doyle Forest Whitaker G. Elvis Phillips Stanley Small Tonea Stewart Keith Smith Winston E. Grant Phil Neilson Timothy P. Brown Thurman L. Combs Sylvia Small Adrian Unveragh Johnny Lee Smith Allen Perada Candice Orsini Marty Lyons Rick Kangrga Michael Cohen Kimberly L. Cole James P. Monoghan Craig Lockhart Darien Taylor Show All…

Alternative Titles

Body Snatchers - Die Körperfresser, Body Snatchers - Angriff der Körperfresser, Porywacze ciał, Os Invasores de Corpos - A Invasão Continua, Похитители тел, Les profanateurs, l'invasion continue, Body Snatchers, l'invasion continue, Secuestradores de cuerpos, Μακάβριοι Εισβολείς: Η Επιστροφή, Body Snatchers: The Invasion Continues, Body Snatchers - Die Körperfresser kommen, Ultracorpi - L'invasione continua, Body Snatchers (Secuestradores de cuerpos), Inwazja pożeraczy ciał, Testrablók, Викрадачі тіл, 异形基地, Stjålne kroppe, Body Snatchers: Invasionen fortsätter, 보디 에일리언, ボディ・スナッチャーズ, Body Snatchers - hyökkäys jatkuu, Lupiči těl, Vücut Hırsızları, Usurpadores de cuerpos, 異形基地, Invazia continua

Genres

Horror Science Fiction

Themes

Horror, the undead and monster classics Monsters, aliens, sci-fi and the apocalypse Terrifying, haunted, and supernatural horror Sci-fi horror, creatures, and aliens Twisted dark psychological thriller Gory, gruesome, and slasher horror Gothic and eerie haunting horror Show All…

Premiere

15 May 1993

France Cannes Film Festival

14 Jan 1994

USAR Austin, Texas

Theatrical limited

28 Jan 1994

USAR

Theatrical

09 Jun 1993

France

30 Jul 1993

Sweden15

20 Aug 1993

Italy

07 Oct 1993

Germany16

Physical

28 Feb 1994

AustraliaM

Australia

28 Feb 1994

PhysicalM

France

15 May 1993

Premiere Cannes Film Festival

09 Jun 1993

Theatrical

Germany

07 Oct 1993

Theatrical16

Italy

20 Aug 1993

Theatrical

Sweden

30 Jul 1993

Theatrical15

USA

14 Jan 1994

PremiereR Austin, Texas

28 Jan 1994

Theatrical limitedR

87 mins More at IMDb TMDb Report this page

Popular reviews

Review by matt lynch ★★★★ 8

really undervalued. it's easy to stop at the obvious military/conformity analog, but that's foolishly ignoring Ferrara's deep mistrust of the family unit here. indoctrination is indoctrination. control is control. it's all the more terrifying for the way he eroticizes the actual body snatchings, like Meg Tilly (so good in this) gazing lovingly as her husband is ensnared in alien tentacles, or Anwar's nude teenage nymph-clone attempting to seduce its human source's rescuer.
Review by Willow Maclay ★★★★ 4

Meg Tilly is so fucking good in this movie. The entire movie lives and dies on whether or not she can pull off that one scene and she knocks it out of the fucking park. Because she's the image for the invasion and the catalyst for all the fallout of fear and paranoia she has to be perfect. If she is anything less than exceptional our heroes can overcome everything and save the day, but Tilly stamps that out. They're fucked. The movie is basically over.
One of the greatest performances I've ever seen in a horror movie.
Review by Josh Lewis ★★★★ 2

honestly closer to an existentially serious version of chuck russell's The Blob than either previous Body Snatchers adaptations. the material itself (with screenplay drafts from scifi/horror exploitation kings stuart gordon and larry cohen) has obvious satirical prospects about american institutional and familial conformity but the key is ferrara's tone which is so absurdly grim, so ruthlessly efficient, it gives this a suitably strange feeling of unreality even as the tangibility of its horror is made clear. god-tier widescreen compositions by bazelli too
Review by Neil Bahadur ★★★★★ 2

Ferrara's grand vision of apocalypse - everything is set in a suburbia itself set inside of a military base, while the aliens take on human forms and are unidentifiable in any way except that they are incapable of expressing emotion. In short, Ferrara's vision of the world as hell is also his vision of the world as it is. One can tell early on that the basic screenplay is overly-conventional and flawed (this is also clear from the credits, where we see that Nicholas St. John was obviously brought in to rewrite) - but the film takes an interesting approach of three layers, placing faith in the scripts literal happenings, but also upholding the simplistic critique of the original material…
Review by 🎃🔥Mr. Like🔥🎃 ★★★

Rotten Tomatoes: 71%
Metacritic Metascore: 65
IMDB: 5.9
60/100
Release Date: 18 February 1994
Distributor: Warner Brothers
Budget: $13M
Worldwide Gross: $428K
First Viewing Ranked
Carol Malone: "Where you gonna go, where you gonna run, where you gonna hide? Nowhere... 'cause there's no one like you left."
SYNOPSIS: A teenage girl and her father discover alien clones are replacing humans on a remote U.S. military base in Alabama.
Seeing how legendary this film's two predecessors are in horror lore would make it easy to discount this film has another meaningless remake. However, Abel Ferrera's vision on the source material is not to be overlooked or undervalued like it was upon release back in 1993.
TRIVIA: Talks of a new version…
Review by Sean Fennessey ★★★★ 5

The end of the second act is one of the great horror movie sequences of the ‘90s. Pure doom. Meg Tilly is the doomstress.
Review by Branson Reese 1

I saw Abel Ferrara, Larry Cohen, and Stuart Gordon's names in the credits and decided I liked this one before it even really began. That's maybe a little intellectually lazy but so what? Parents do that when they're expecting and we don't leave nasty comments under their reviews.
Anyway I was right. Terrific stuff.
Review by shookone ★★★½

doesn't have to be the whole world anymore. the apocalypse is going down right on your small little (supposed to be safe) island. the military apparatus goes blindly into his destruction. more paranoia of de-individualization, cooptation, racial fanaticism. here you even can't trust your own family anymore. mummy is angry and a bad mother always gonna be the start of the ominous, inexorable, unstoppable evil.
Review by Rafael "Parker!!" Jovine ★★★½ 6

Not gonna lie, the first act of this movie was so slow and pretty much uneventful that I was feeling bored; but when we get our first corpse and s**t hits the fan and we get the greatest callback of the 70s version, I literally pump my fist into the air and got overly excited as everything goes from bored to metal in seconds.
I haven't seen many Abel Ferrara's movies (probably doing a marathon soon), but this felt like a complete departure. Almost a family friendly version of the director - that's not to say there isn't some sneak peek to some of his trademarks here and there.
The performances are very good, especially when the movie actually kicks…
Review by Mario Melendez ★★★★ 5

Yes... It is always difficult to make a remake or version of a movie that is not new to be to the liking (or not) of the public because everyone can expect everything: that people hate it and make comparisons of all kinds, that they don't take it seriously or that they think that only wanted to copy something already made just to achieve fame, money, and recognition, especially if you don't want to do this but the opposite which is to carry out work with more complexity, deep messages and not just create a horror that will merely scare you for 90 minutes and also dare to take it to compete at the Cannes Film Festival, as Abel Ferrara…
Review by Dr. Ethan Lyon ★★★ 9

5th Abel Ferrara (after Ms.45, Fear City, King of New York and New Rose Hotel)
I think the Pod People are liars, fundamentally, when they talk about having no emotions. At the very least, they demonstrate complete contempt for the humans they replace. It's evident in the gloating manner with which Pod Carol speaks to Steve. Tilly is astonishing in that scene because she manages to make her lines into a manipulative sales pitch, the spiel of someone well-versed in gaslighting her quarry and feels absolutely no remorse. R. Lee Emery's entreatment to Forrest Whittaker may be spoken more calmly, but it never rises above that baseline contempt that radiates from every interaction the Pods have with others. For them,…
Review by Joe Lynch ★★★½

Considering what a huge fan I am of Abel Ferrara’s body of work, I wrote this one off when it first came out off the heels of my love for KING OF NEW YORK & BAD LIEUTENANT for not being “Ferrara” enough.
Revisiting it again after almost 30 years, this movie is VERY effective, taking the original idea already well-executed by Siegel and Kaufman and adding a teenage angst perspective which adds to the alienation aspect.
The whole cast is solid but Meg Tilly is next level creepsville, “snatching” every scene she’s in.
Still not the biggest fan of the military base aspect but warmed up to it this time more, still agree with Abel in interviews that a small town…