Carrie
Dir: Kimberly Pierce
Starring: Chloe Grace Moretz and Julianne Moore
Brian De Palma created one of horror’s great films with
1976’s “Carrie”. Adapted from the Stephen King novel, the story of 17-year-old
Carrie White, an isolated teenager who discovers she has the gift of
telekinesis, fashioned a film that was both a humanistic portrayal of a
confused young girl and a stylistic horror film unlike many others at the time.
Kimberly Pierce, director of the acclaimed “Boys Don’t Cry”, applies a decent character
approach to the new rendering, but stumbles by trying to imitate the original.
Carrie White (Chloe Grace Moretz) is a quiet young girl who
is ridiculed on a daily basis by the kids at her high school. At home Carrie is
under the watchful, controlling rule of her religious mother (Julianne Moore).
After the girls in gym class brutally bully and humiliate her, Carrie realizes
that she is different in a special, supernatural way. Though things don’t get
better for Carrie as the bullying gets harsher and her mother becoming
violently controlling. Carrie is pushed to the ultimate breaking point, which
has her unleashing her rage on all who have wronged her.
If this synopsis sounds very familiar, it’s because “Carrie”
doesn’t stray too far from the source materials, at times repeating identical
lines of dialog and specific scene setups from the original film. While this
could be distinguished as a filmic homage, it unfortunately feels unoriginal
and needless. However, there are few added elements that offer some interesting
diversions apart from De Palma’s film. The introduction is an especially
welcome turn that presents a looming dread over the film. Kimberly Pierce does
a good job of portraying the characteristics of youth, incorporating the
fragility of self-esteem and sexuality amidst the need for acceptance and
friendship in high school. The narrative also adds an all too familiar and
disturbing element of bullying seen amongst young people. The tormenting
anxiety and degrading taunts is the most terrifying aspect of the film.
One of the glaring issues with this film is the excessive
utilization of computerized special effects.
While the technique feels like an attempt to distance this film from the
original, it instead tarnishes the images it too closely resembles. Though this
aspect doesn’t ruin the film, as some younger viewers might not be familiar
with De Palma’s elegant handling of the climatic effects of the original, it
doesn’t help it in any way. The performances and early contributions from the
narrative offer positive attributes. Julianne Moore is good, rambling with a
mix of religious sentiments and crazed declarations. Portia Doubleday is menacing as Chris, the
outcast ringleader of the tormenting teens. Chloe Grace Moretz is talented,
though her performance showcases Carrie’s budding happiness and confidence more
than the lonely and emotionally captive character portrayed by Sissy Spacek.
Moretz’s performance also insinuates a change in the understanding of Carrie’s
utilization of her power.
De Palma’s film is an iconic genre work; while this update
of “Carrie” feels more forgettable than frightening there are some interesting
updates. Pierce does well focusing on character early but regrettably opts for
imitation when transitioning the early themes into the culminating explosion of
emotions. An update of “Carrie” may not
be necessary but it provides the opportunity for unfamiliar viewers to seek out
the original, a true classic of horror.
Monte’s Rating
2.75 out of 5.00
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