Carrie…so scary. I feature alt-postrs for both the original film and the remake. Enjoy.
CARRIE-United States-100 Mins. 2013
Directed by Kimberly Peirce
Screenplay by Lawrence D. Cohen and Roberto Aguirre-Sacasa
Based on the novel by Stephen King
Carrie is a 1976 film based on the debut novel by Stephen King and starring Sissy Spacek, John Travolta, Amy Irving and Nancy Allen. It is about Carrie White- a ridiculed teen-aged girl who discovers that she has the power of telekinesis and uses it to exact reven-I’m sorry, what did you say? Oh, that’s right! This review is for the 2013 remake of the 1976 film based on the debut novel by Stephen King and starring Sissy Spacek, John Travolta, Amy Irving and Nancy Allen. It is about Carrie White-a ridiculed teen-aged girl who discovers that she has the power of telekinesis and uses it to exact revenge against her tormentors. There. That’s better. Oh, snap! The 2013 film doesn’t star Spacek, Travolta, Irving or Allen. It stars Chloë Grace Moretz, Alex Russell, Gabriella Wilde and Portia Doubleday in the same roles and saying basically the same things that their predecessors did in 1976. Throw in Julianne Moore as Carrie’s über-religious mother spouting about dirty pillows and ‘they’re all going to laugh at you’ and Judy Greer wearing Betty Buckley’s skin as the gym teacher sympathetic to Carrie and you can understand my confusion. I understand that a remake of a film is just that-a remake; but did they have to make nearly shot-for-shot the same damn movie? Do the words Gus Van Sant and Psycho mean anything to anyone?!?
The Carrie of 2013 is not a total loss. Moretz and Moore are excellent in their roles as Carrie White and her mother Margaret and the supporting cast do adequate jobs even if they aren’t given very much to do in the first place. Gabriella Wilde as Sue Snell goes from ‘Plug it up! Plug it up!’ to ‘Poor Carrie’ a bit too hastily and Alex Russell is practically non-existent as bad boy Billy Nolan. Portia Doubleday must have watched Nancy Allen as Carrie’s main antagonist Chris Hargensen so many times that she became the character through osmosis or something to that effect. The same goes for Ansel Elgort as Tommy Ross, the role filled by William Katt in the original film. Let’s not forget the ending to Carrie of 2013; it’s not the same ending as the one in 1976 that left a trail of soiled underpants all across the nation. If you want to see that ending-or at least a ridiculous re-telling of it-then you’ll have to choose the ‘Theatrical Version with Alternate Ending’ feature from the main menu. Don’t waste your time, though; it stinks as bad as the original theatrical ending.
I’m not one of those people who cries foul when the remake of a film is announced. There are those out there among us who hate the idea of their favorite film being re-done-even before setting their eyes upon a single frame of film. I vowed to myself that I would never be one of those people. However, if I were to see another film that is a carbon copy of its original and better self the same way that Carrie of 2013 is to the Carrie of 1976 I believe a change in my policy would be in order. I believe Yogi Berra summed it up perfectly: it’s Déjà vu all over again!
This is the first screen adaptation where Carrie is played by an actual teenager. Chloë Grace Moretz was 15 during filming, whereas Sissy Spacek and Angela Bettis, who played the role in Carrie (1976) and Carrie (2002) respectively, were 26 and 28 when they played Carrie.
To prepare her for the role, director Kimberly Peirce sent star Chloë Grace Moretz to homeless shelters to meet people who had genuinely lived tough lives.
Originally the film was slated to begin with a scene from the book, in which a young Carrie wandered into the yard next door and found her teenage neighbor sunbathing. Margaret flies out of their home in a rage and scoops up Carrie, who throws a tantrum and summons a rain of stones. This prologue was also shot for Carrie (1976) and wound up being deleted from both versions.
Chloë Grace Moretz also appears in Let Me In and Hugo.
Julianne Moore also appears in Don Jon and Savage Grace.
Judy Greer also appears in Cursed and Love & Other Drugs.
Alex Russell also appears in Chronicle and Wasted on the Young.
Gabriella Wilde also appears in Endless Love (2014) and Squatters.
Ansel Elgort also appears in Divergent and The Fault in Our Stars.
Portia Doubleday also appears in Youth in Revolt and Her.
Badlands is the motion picture as National Treasure. Its influence has been felt through the years in films like Monster, True Romance and the highly underrated Kalifornia. The first lines of Bruce Springsteen‘s Nebraska are awash with imagery of the first meeting between Kit and Holly.
I saw her standing
On her front lawn
Just a twirlin’
I and she went
For a ride, sir
And ten innocent people died…
Yes, the song is about Starkweather, but the imagery is all Terrence Malick and Badlands.
Finally, and it should go without saying, Badlands is the motion picture as a masterpiece. I’m just going to leave it at that.
The actor that originally had to play the man that rings at the rich man’s door did not show up, so Terrence Malick played it himself, although the intention was to use this part only temporarily.
Although Charlie Starkweather had been executed when the movie came up for production, Caril Fugate was still alive and facing parole, prompting the filmmakers to change the names of the principal characters to avoid a lawsuit.
Don Johnson auditioned for the part of Kit.
I graduated in 1980. I was a decent student; I got fair grades, and I had enough friends that I could put up with and whom would put up with me. I dated a few girls here and there. I never went to prom, however. Looking back, I wonder if Carrie had anything to do with that. In fact, looking back at the film in the thirty-six years since its release, one could view Brian De Palma’s adaptation of Stephen King’s first novel as the perfect anti-bullying propaganda film.
Sissy Spacek is phenomenal in the titular role of Carrie White, the young girl whose life sucks worse than Battlefield Earth (pointless L. Ron Hubbard jab and shameless John Travolta film reference). Not only does she put up with the day to day torment forced on her by her peers (PLUG IT UP!! PLUG IT UP!!), but she has to go home to an over-zealous religious freak of a mother who locks her in a closet with a hideous looking glow-in-the-dark figure of Jesus. Add getting dowsed in pig blood and it’s no wonder she goes the Psychic Friends Network version of sex-nuts and retard-strong (equally shameless Clerks 2 reference).
I’m not entirely sure if Carrie is Brian De Palma’s best film. I still need to re-watch Blow Out and Dressed to Kill before I make that call. I will say, however, that it is truly one of his most ambitious films and that after nearly forty years is still one of the best interpretations of a Stephen King novel ever put to celluloid.
Sissy Spacek wasn’t considered for the role of Carrie until her husband, art director Jack Fisk, convinced director Brian De Palma to allow her to audition. Until that, De Palma was wedded to the idea of Amy Irving playing Carrie; when Spacek got the part instead, De Palma gave Irving the smaller role of Sue.
Directed by Courtney Solomon
Screenplay by Courtney Solomon and Brent Monahan
Based on the novel “The Bell Witch: An American Haunting”
This film holds a special place in my heart. I know that may sound corny coming from a 49 year-old man, but the reason is because it was the very first date between myself and the beautiful woman who is now my wife of almost 4 years. There were so many reasons why I was so excited to see this film. The aforementioned first date, of course, but also because this film had so much going for it. It had two of the finest actors of past, present or future in Sissy Spacek and Donald Sutherland in the lead roles of Lucy and John Bell. There was the performance of Rachel Hurd-Wood as Betsy Bell that, while not Oscar worthy, was able to hold her own against the likes of Sutherland and Spacek.
Then there is the story behind the film. The story of the Bell witch is the most documented haunting in American history. It is the only reported case in which a spirit has caused the death of a living human being. The first time I remember reading about the Bell witch was in the pages of Boris Karloff’s Tales of Mystery. I was enthralled with the story of this vengeful entity who made life a living hell for John and Betsy Bell. Can you see why I was so stoked to see this film?
The first part of the film moves along rather nicely. It grows a bit tedious in some places, but for the most part is a faithful adaptation of the events that took place on the Bell farm in Adams, Tennessee from 1817 to 1820. The scenes of the haunting and the torture of Betsy Bell by an unseen force are well filmed and well acted and Sutherland and Spacek are at the top of their game. I am enjoying the film and intend to recommend it to friends the first chance I get. That is until the ending causes all that came before it to come crashing down like a house of cards.
Throughout the entire course of this film director/co-writer Courtney Solomon leads us to believe that he believes in the legend of the Bell witch. The ending that is tacked on to this film is like a slap in the face. Why does there have to be a rational explanation for the Bell witch? Why were the filmmakers not satisfied with what could have been an intriguing adaptation of an amazing legend in American history? The supernatural is not a rational thing, so why treat it as such?
Thank you, Courtney Solomon, for ruining a legendary tale. At least you didn’t ruin my date.
Written and Directed by David Cronenberg
Marilyn Chambers as Rose
Frank Moore as Hart Read
Joe Silver as Murray Cypher
Howard Ryshpan as Dr. Dan Keloid
Rabid is a film directed by David Cronenberg (The Fly, The Dead Zone). It stars Marilyn Chambers (yes, the late adult film actress) as Rose. Frank Moore plays Hart Read, Roses’ boyfriend. The two of them are traveling on Hart’s motorcycle when they are involved in an accident. Hart suffers a dislocated shoulder. However Roses’ injuries require plastic surgery and she becomes the “guinea pig” of Dr. Dan Keloid. Dr. Keloid performs a new type of plastic surgery on her in which her intact tissue is grafted to the burned areas of her body on the hope that it will differentiate and replace the damaged area. The operation is a success…kind of. Rose heals, but she also develops a need for human blood. She doesn’t bite her victims in the way of the traditional vampire. Under her armpit is a new orifice that hides a phallic-like stinger that she injects into her victims to draw their blood. The ones that survive have no recollection of what happened to them and after a period of about 8 hours they show the symptoms of rabies (rage, foaming at the mouth). They attack others and pretty soon there is an epidemic going on and martial law is declared to keep things from getting too far out of hand. Throughout all this Rose continues to stack up victims of her unnatural thirst and seems to have no idea that she is the Patient Zero who started the epidemic. I’m not going to give away the ending. If you haven’t seen the film check it out and let me know what you think. If you have then let me know how I did summarizing it and point out any mistakes I may have made.
David Cronenberg is a director whose central theme in his films has always been the monster within us, not the monster without. He is known as the Director of Venereal Horror. Rabid is his second feature film and was preceded by Shivers aka They Came from Within.