Carrie

I bought this DVD even before seeing this movie because I like Angela Bettis a lot!!! She is very good at playing misfits who are sweet, innocent and DEADLY!!!

And I'd heard a lot of people criticize this TV remake of the Sissy Spacek film. The guy at Blockbuster even said, "You're buying the REMAKE???"

Like I said, I like Ms. Bettis's work. She was FABULOUS in a similar role in the film MAY. I figured that would be just about ALL I'd like about this version of Carrie. After all, everyone knows that TV movies are never as good as theatrical ones, right???

But as I watched this movie, I was very impressed. The performances of Bettis and Patricia Clarkson as Carrie's holy roller mom were outstanding and chilling. But the writer of this TV script also deserves a nod. I've never been more impressed with TV writing before. It was just clever, with humor, and unpredictable.

The special effects were not perfect, but they were impressive for TV. The guy who played Carrie's date was TOO OLD to be a high school kid. The girls who were mean to her were well acted, and the guy who slaughtered the pig was a real psycho. His eyes looked crazy even.

Good movie. I give it an A.

High school is a horrible place. Everyone is really cruel. The popular kids, pick on the nerds, the nerds dump on the popular kids, and the kids left in the middle, they pick on and make fun of the nerds and the popular kids. But there is always that one kid. The kid who sits at lunch by himself, he never says a word and boy does he get dumped on the most.

That's why the Stephen King's classic CARRIE will always appeal to mass audiences. She's the quiet kid who's always getting picked on. It prays on our irrational fear of the one who is a little odd, but it also gives us a glimpse into our own hurt psyche. We've all been put upon in our lives. We've all be humiliated by the people around us, and we all wish we could gat back at out enemies.

As I sat through the recent television remake of CARRIE, all I could think of is how I am Carrie, but I'm also the one who has destroyed people like Carrie. It's the human condition, I guess? It's that ever-present darkness we all have in our hearts. No matter how we try to suppress it.

Angela Bettis (May) plays Carrie White, a high school senior with a legalistic mother and the whole world against her. She's quiet, introspective, and really naive about what's going on the world. So of course all the girls in school pick on her, and tease her. They are downright cruel at some points.

Little does anyone know, but quiet Carrie has begun to develop weird powers. She can make things move using her mind. But when another prank goes wrong, Carrie goes medieval and takes no prisoners.

Angela Bettis was born to play Carrie and she is great. She has this innocent and yet dangerous look about her. She gives Carrie this poised quirkiness that the film desperately needs. You can see how each humiliation wears away at her façade, and without Bettis's small but subtle character changes, this simple and yet so complex character would fall apart at its seems.

I especially liked the scene in which she's waiting for her prom date Tommy (Tobias Mehler, Disturbing Behavior) to arrive. He's late, and she thinks she going to be stood up and as the minute's progress the furniture slowly begins to rise off the floor. That is a great sequence.

The supporting cast also does a great job Patricia Clarkson's (Far From Heaven) performance, as Carrie mom is one of true evil and even a little sympathy. She generally cares for Carrie, too bad she's so bad at showing it to her daughter. To bad she's been duped into the lie that legalism can save your soul. I like that it has more dimensions than Brian Deplama's characterization of Carrie's mom in the original film.

Rena Sofer (TV's ED) is also very good as Carrie's tough as nails gym teacher, one of Carrie's only supporters. She walks that thin line between feminine and bitchy without turning her character into a farce. I liked how she handled her gym class, when they obviously deserved worse, and I loved the small conversation she has with Carrie at the prom. Sofer is one great actress.

Director David Carson (Star Trek: Generations) visual style is also refreshing. Much of the film is shot with stylized steady cam and disjointed camera angels. While many times this technique can be distracting. It works really well for this film, and is never distracting.

My only qualm with this movie is pretty trite. Since it is a TV movie some sequences are a little choppy because of commercial breaks. I wished they had fixed some of the editing at these points for the DVD. Because I found it distracting that they would go to black only to come back to the same shot. It's also a tad overlong, and some sequences drag on merely to stretch the running time. But they are few and far between, so forget I even mentioned them.

This new CARRIE is really good. It has a great cast, a nice visual sense, and aspires to do something new and different. I would recommend you see Deplama's film before you see this one. But don't let that discourage you from giving the new CARRIE a look.

This is one of the best Made-For-TV movies I have ever seen.

The problem with remaking "Carrie" is two-fold. First off, the original Brian DePalma film is such a defining classic. Any additional version will be compared unflatteringly to that original. Secondly, the story follows a clear, well-known formula. Every version of "Carrie" has to end with the main character wreaking telekinetic havoc at the prom. The question of remaking "Carrie" becomes whether or not the performances justify telling a story everyone knows the ending to. This was the question facing the 2002 television version of "Carrie" and is the question currently facing the brand new, Chloe Moretz-starring remake.

So, do the performances justify the film? Kind of. A screening of "May" is what convinced the producers that Angela Bettis was the perfect choice for the role of Carrie. No doubt, the two characters are similar, disenfranchised loners who strike back violently against their tormentors. However, Angela Bettis makes Carrie not only very different from May but different from Sissy Spacek's Carrie. Spacek played the character as a wounded animal. Bettis' Carrie, meanwhile, plays like a PTSD victim. She keeps her head down, taking abuse silently. She's more spastic, seemingly going into seizure like trances. Bettis' naturally nervous qualities are played up, her eyes and forehead twitching. However, this Carrie has a secret rage burning inside of her. She bottles up her anger at the world. A more bitter or even sarcastic side shows through during her interactions with mother or schoolmates. Spacek's Carrie was a poor girl who snaps suddenly, unexpectedly. Bettis' Carrie is a ticking time bomb. The differing interpretation allows Angela to make the part her own. It's a very good performance from a great actress.

Patricia Clarkson also goes in a very different direction from what Piper Laurie did in the original. Laurie played the role as over-the-top, high opera. Clarkson goes in the opposite direction. Her Margaret White rarely raises her voice. Her threats are quiet and subtle. She doesn't have to yell and scream to make her point. She plays her religious fanaticism as a frightening truth, someone who believes unerringly. Clarkson is excellent, far more believable then Laurie's campy theatrics. It's the only true advantage the 2002 version has over the 1976 version.

The 133-minute long film, originally aired in two halves over two nights, hews more closely to Stephen King's original novel. It reinstates the epistolary format, a police detective interviewing the surviving high school students about what happened that night, the events recalled in flashback. The narrative reshuffling does little to change the flow of the story. Carrie still gets her period in the girl's changing room, freaks out, discovers her powers, faces her religious fanatic mother, gets invited to the prom by Tommy Ross, has pig's blood dumped on her, goes nuts and kills a lot of people. Several missing scenes from the book are reinserted. Small meteorites fall from the sky when Carrie is born. When she's six years old, after an encounter with the neighbor's daughter, the same thing happens. After the massacre at the prom, Carrie walks through Chamberlain, Maine, destroying most of the town.

I'm not sure how to feel about the extended run time. In some ways, it allows the material to breathe more. A few of the additional scenes add nice character development. Chris Hargensen has a scene where she interacts with Carrie alone, that shows Chris to have some depth as a character. When Kandyse McClure's Sue Snell talks to Carrie about make-up, it's humorous, expands on the two's relationship, and provides more insight in Carrie's opinions. The pre-massacre prom scenes are surprisingly good. Carrie and Tommy Ross talking in the car is unusually sweet. Miss Desjarden's monologue to Carrie about post-high school life is wonderful as well, especially Carrie's reaction to it. As Carrie and Tommy dance, Angela gets a great moment, expressing gratitude to the young man. The detective subplot doesn't add much but the cop looking through Carrie's completely empty, unsigned year book is rather heartbreaking. Then again, several scenes are unnecessarily extended. The pig bleeding scene goes on far too long. A moment of Carrie freaking out in class, shattering her desk, adds nothing. The principal talking with a lawyer has no effect on the rest of the film. Though Emilie de Raven's Chris is less blatantly psychotic then Nancy Allen's, her boyfriend Billy becomes a cold sociopath for no particular reasons.

The biggest problem with 2002's "Carrie" is that it can't compete with the 1976's version thrills. The CGI-filled prom massacre lacks the visceral punch of the original. DePalma's unique style ramped up the intensity. David Carson's comparatively flat direction adds little. The rampage through town is well executed but seems superfluous. Carrie's powers are often overdone, with her cracking desk, throwing bikes through the air, or wrapping a truck around a tree. Considering Carrie's obvious anger, her not having any memory of the rampage is a cheat. Laura Karpman's score isn't bad, blatantly recalls Pino Dinaggio's work at times, but isn't as impressive.

Of course, the ending is different. For some reason, producer Bryan Fuller decided "Carrie" would make a great set-up for a series. Carrie White survives and goes on the road with Sue Snell. The series would have been "The Fugitive," with a telekinetic teenage girl as the protagonist. This, of course, was a terrible idea. If 2002's "Carrie" maintained the book's ending, it perhaps would have been a stronger film. As it is, it's not a bad effort. It can't compare to DePalma's version and is frequently mediocre. Still, the two lead actresses lend what otherwise would have been a forgettable product some elegance.

It seems to make as much sense to remake a great movie like Brian DePalma's 1976 horror/suspense masterpiece CARRIE for television as it did to make a sequel of it in the form of THE RAGE: CARRIE 2 three years before, but that's what has been done. A lot of bells and whistles have been added to this television remake, but in the end this CARRIE is still in the shadow of the DePalma original.

Angela Bettis (GIRL INTERRUPTED) has the unenviable task of stepping into the shoes (and the prom dress) of Sissy Spacek in the title role of a New England teen tortured at school by cruel classmates (because she doesn't belong) and at home by her religiously fanatical mother (Patricia Clarkson, in the Piper Laurie role). Soon, she discovers she has telekinetic powers; and when the most gruesome of gags is played on her on prom night, all bets are off.

Though looking much more glazed in the eyes than Spacek ever did, Bettis gives a fairly good performance as Carrie; and Clarkson's portrayal of her uprighteous mother is much more low-key, but no less threatening, than Laurie's portrayal. The special effects, however obvious they might be, are also quite good. But in the end, the reputation of the 1976 original, with its combination of psychological horror and teen-angst drama, still hovers over this remake. Nowhere is this more apparent than in the pig's blood scene. It doesn't have the same jarring emotional impact this time around--not so much because we've seen it before, but because here it looks slightly laughable when the blood gets poured onto Bettis. Because of DePalma's use of slow-motion in the original, the blood hits Spacek like a tidal wave.

I give the CARRIE remake a '6' just for trying. I only regret that its shortcomings as a film have less to do with its execution as a film than the fact that the original movie still resonates much more fully.

I have read the book and seen the original 1976 movie, numerous times. When I saw this advertised and heard that it followed the book, I knew I had to see it! It was interesting to see the book brought to life in a film. Even though it was modernized with Carrie making references to the internet, Chris using a cell phone, etc. I really enjoyed watching it, even though I still have to say that the original 1976 movie is still a classic! For some strange reason, during the prom scene where the blood is poured on Carrie, I was actually waiting to hear the famous line, "They're all gonna laugh at you!" That was such a nice touch in the original, but very difficult to duplicate. I also noticed in the credits that Jasmine Guy was in this film, but I looked and was not able to see her anywhere. The only thing I did not like is the fact with it being on regular television, the commercial breaks interrupted some of the good parts. Just when I was really into watching it, a commercial appears! Overall this movie was enjoyable to watch and to see a classic book and film come back. I am not much on remakes, but this one was not that bad. Still, nothing can hold a candle to the original!