Carrie

A reimagining of the classic horror tale about Carrie White (Chloe Grace Moretz), a shy girl outcast by her peers and sheltered by her deeply religious mother (Julianne Moore), who unleashes telekinetic terror on her small town after being pushed too far at her senior prom.

This film is criticized pretty harshly by audiences, especially horror fans. And for the most part, these criticisms are unfair. One minor problem with the film is the use of CGI when it was not necessary. And the major problem was remaking a classic. As it is impossible to improve on a classic, any attempt will be met with strong resistance.

But there are many strengths. First and foremost, Chloe Moretz, who is easily the best actress of her generation. Horror fans are lucky she has worked extensively in the genre, because her roles have brought much strength to otherwise average films. While perhaps not as awkward as Sissy Spacek, she handles the role well.

There are some aspects that are closer to the novel, including the more violent and intense climax, and the pregnancy subplot. This version has a more sympathetic Sue and Tommy as well as a more self-confident Carrie. These are different takes on characters that make an important, nuanced difference and allows for different interpretations. The updating of technology adds a different angle, too. This is its own movie in many respects.

Is the original better? Of course. It is a classic and directed by the legendary Brian DePalma. It probably should not have been tampered with (although it has been before). But if it had to be done, the people involved could have done much worse than this.

Disclaimer: this movie can prove to be "scarrie" for those who are not a fan of the horror genre in general. For those of us who are, at least for me, this movie was everything but scary. First of all, when I heard that Chloe Moretz will be taking the role of Carrie, I was afraid that she might not be able to pull it off. In fact, the only thing I was pleased to hear was that Julianne Moore will be playing Carrie's mother. She is a great choice for the role but the way she handled it, as well as everything else about this movie is - over the top. I could sense the idea of wanting to make a good remake of a classic, but in the end they just missed it... Chloe Moretz is a very good, promising young actress, I don't even wanna talk about acting abilities of Julianne Moore, but they just didn't seem real here. What makes the original Carrie truly disturbing is that it's really slow paced. In its essence, it's a drama about a teenage girl that is being deprived of an ordinary teenage life and experiences that come with it due to her fanatically religious and psychologically extremely questionable mother, to put it lightly. And yes, the plot is pretty much the same and everything, but the general feel is that they rushed it. As I said, everything is over the top, the acting is exaggerated, the relationships between the characters are unconvincing, but it's biggest flaw is that you KNOW what's coming. You have Carrie doing her telekinesis stunts from the very beginning. It's almost as if she was practicing this skill from waaaaaay back, making pencils float around the room, flying the bread over to the toaster - you know, the usual stuff. So when the real thing was supposed to happen, the x was out of the equation making it quite frustrating to watch. It seems to me that, to make a remake of such a classic film you need to put so much thought and effort into every little detail to make it at least convincing enough, if you're not aiming to top the original. This movie seemed like someone got the idea "hey let's make a remake of some classic horror movie... hmmm... which one should we pick... the Exorcist? no, that's to heavy. hey, how about Carrie? Sure! it has a young girl as a lead, we sure have plenty of those, and there's a mother - oh, no, don't tell me? are you thinking what I'm thinking? JULIANNE freakin' MOORE!" And off they went with their brilliant idea and messed it all up. It was to hasty, it was thoughtless, unconvincing and at the end all I could to was to pick the flaws as I was comparing it to the original. I could go on and on about which aspects of the movie I disliked the most, instead I'll just give it a 4/10 and never watch it again. The 2013 version, at least.

Carrie White is somewhat a loner; raised by a fanatical mother who believes just about everything is sinful and bullied at school. She hasn't been told about what it means to become a woman so when she has her first period, in the shower after gym class, she is terrified. The other girls mock her and one, Christine "Chris" Hargensen, even films her on a phone. This lead to Chris being suspended and being banned from attending the upcoming prom; she determines to have her revenge on Carrie. As well as becoming a woman Carrie starts to develop telekinetic powers. Another girl, feeling guilty, asks her boyfriend to take Carrie to the prom... when Chris puts her revenge into action Carrie's powers erupt in a deadly way.

The original 1976 film is rightly considered a horror classic; even those who have never seen it, or read the book, are likely to know what happens at Carrie's prom... which slightly lessens the impact of the scene in this film. Trying to judge this film on its own is difficult but I'll try. It starts well with the characters being introduced and developed and no real violence before the infamous prom scene. Chloë Grace Moretz is the right age for the role and her acting is impressive; unfortunately she doesn't feel as vulnerable as Sissy Spacek did in the original. Julianne Moore is suitably disturbing as Carrie's overbearing mother and the rest of the cast are solid enough. The special effects are pretty good and there are some impressive shocks. Overall I don't think this remake was needed but it turned out better than I expected... certainly worth the 50p I paid for the DVD.

I have been eagerly awaiting this movie since I heard of the casting of Chloe Grace Moretz. I could totally picture her portraying the character in the style and feel created by Sissy Spacek and followed up by Angela Bettis (2002 TV movie). I knew she would be a worthy successor after seeing the film Let Me In. I was, however, skeptical of the casting of Julianne Moore as the religious fanatic mother of Carrie, Margaret White.

After seeing the film twice this weekend, Julianne Moore turned out a creepy performance that should definitely garner her an Academy Award nod. Her portrayal of Margaret White was an emotional witches brew of fanaticism, insanity, and maternal instinct. For me, it was an unexpected treat.

As for Carrie, Chloe Grace Moretz did a fine job. She had big shoes to fill, and her performance does not top that of Sissy Spacek. However, she does hold her own. In all three versions of Carrie, each actress has portrayed Carrie in a different way. Each excelling in making the role their own while maintaining the artistic concept of Carrie herself. Chloe did deliver a chilling performance during the scenes where Carrie is exacting her revenge.

As for the movie itself, I would describe it as a remake of the 1976 film sprinkled with some additional elements from the Stephen King novel. It was very well made, and the modernization is appropriate without being too obvious of the change in times, i.e cell phones, the Internet, etc.

In closing, Carrie is an extremely competent attempt at remaking a classic. As I say with all remakes, you have to go into it with an open mind and not with the mind set of comparing it to the original. If you do that, you will find Carrie is a good movie.

How well you respond to the new remake of "Carrie" may depend greatly on how your mind is associated with the material that inspired it. If this is your introduction to this enterprise, it may be kind to suggest that you check out Brian DePalma's original 1976 horror classic, or Stephen King's 1974 debut novel. That's where you get the true meat of the story. Kimberly Peirce's remake is glossy, pretty and professionally made, but it adds almost nothing new. It is violent and energetic, but it lacks the sustained melancholy creepiness that made the original so memorable. Peirce has the parts of the story in the right order but her film lacks a sense of tone and mood. She can play the notes, but not the music.

DePalma's film remains a permanent fixture of our popular culture because he understood that the foundation of Stephen King's best work comes from his ability to pry supernatural events out of a foundation of realism – i.e. the more realistic his environment, the scarier the magical stuff plays out. Plus, it had the added bonus of a previously unknown actress named Sissy Spacek in a brilliant performance that made her a star. Knowing that, it may be possible that no filmmaker could have revised this material. By this point there may not be anything new to explore. After the book, the 1976 movie, a 1999 sequel and a 2002 TV movie, we know this story so well that the narrative of a remake is more or less perfunctory. It becomes less a story and more of a checklist keywords: prom, dirty pillows, pig blood, tampons, prayer closet, telekinesis. The pieces are here, but there are very few surprises.

The story is one of alienation. We know that the world is populated with more young people like Carrie then than the prom queens who torment her, and with all the news stories lately about the horrors of bullying, this new film might have been a good chance to shed some light on the subject. Yet, there seems to have been no ambition to expand on the original idea. Pierce, who is openly gay, understands alienation first hand. She previously made "Boys Don't Cry," the story of Brandon Teena, a girl suffering a sexual identity crisis (for that film Hilary Swank got an Oscar for Best Actress). She also made "Stop-Loss" about a soldier who returns home from Iraq, but refuses to go back. Here, in her first big commercial film, she seems to have lost her creative edge. The movie is long on plot but very short on personality.

One of the biggest problems lies in the casting of Chloë Grace Moretz in the title role. She's so conventionally pretty that we have trouble believing that she could ever be a wallflower. This is a story about a girl who is so spaced away from the world that she might as well be invisible. She's trapped in a body that offers a telekinetic ability that she can neither control nor adequately explain. Moretz is not a bad actress, but she has such a strong screen presence that we don't feel her defenselessness.

The people around Carrie aren't people, so much as standard movie requirements. There's the snobbish queen bee (Portia Doubleday) who torments Carrie at school. There's her lunkhead boyfriend (Alex Russell) who acquires the pig blood. There's the nice guy (Ansel Elgort) who agrees to take Carrie to prom. There's the P.E. coach (Judy Greer) who defends Carrie against her tormentors. There's the principal (Barry Shabaka Henley) who is so petrified of a lawsuit that he can hardly speak. These characters aren't given personalities; they are just functions of the plot.

The one performance in the film that does work is Julianne Moore as Carrie's hyper-religious mother, Margaret. Moore does a nice job of playing a woman so encased in her own God-fearing paranoia that she shuts out a world that she feels pleasures itself at the altar of a fallen creation – which includes pretty much everyone. The worst of this vantage point she pushes on Carrie herself, locking her in a closet and declaring that her special power makes her a tool of the devil. The set designer has done a good job of creating Margaret and Carrie's home as a sponge-cleaned den of claustrophobia and blandness.

The scenes between Carrie and her mother are the best parts of this story because they reveal two broken personalities that eventually face off in a final conflict that seems to have been preordained from the moment that Carrie came into the world. The rest of the movie is pretty much a tired march through a story that's been told three times before. There are some nice touches. The prom scene is well made. Peirce allows Moretz to wave her arms during the final telekinetic fury as if she were conducting a symphony of terror and mayhem. Yet, it's a moment of originality so clever that you wish the rest of the movie had followed.

Is "Carrie" entertaining? Not really. If you know this story already, there's no real reason to see this one. It only goes to further the mystery of why remakes are even necessary. Why remake this movie beyond the attempt to cash in on a brand name? Why not remake movies that were bad? Make them better. 37 years after the Brian DePalma's masterwork, horror fans are still talking about it. This film is so forgettable that 37 years after this remake, horror fans may have to be reminded that it was ever made in the first place.

** (of four)