Carrie (2013)

Carrie (2013)
  • Time: 100 min
  • Genre: Drama | Horror
  • Director: Kimberly Peirce
  • Cast: Chloë Grace Moretz, Julianne Moore, Judy Greer


A reimagining of the classic horror tale about Carrie White (Chloë 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. Based on the best-selling novel by Stephen King, Carrie is directed by Kimberly Peirce with a screenplay by Lawrence D. Cohen and Roberto Aguirre-Sacasa.


  • I have not seen the original but i went to see this movie because i thought i might enjoy it and I was bullied in the past so a film about a girl who has been bullied killing all the bully’s seemed awesome. I thought Chloe Grace Moretz played Carrie really well and i actually felt really sorry for her throughout the film. Carries mum Margret White was very creepy and she was always talking about the bible in every line she said. Not a lot of action happens in the first three quarters of the film but the character development is great and even though most of this film is building up towards the ending i was never bored throughout. The special effects were really good and never looked out of place and this film has some really awesome slo-mo death scenes which were cringe worthy but awesome. So overall this film was awesome and the cast were excellent. I will probably buy this on blu-ray when released.

  • (Rating: 2 and a half / 5) ‘Carrie’ is the 1976 classic by Brian De Palma, and 37 years after Hollywood again fixed his gaze on the film to realize the remake made ​​in XXI century. Since the wave is to capture old ideas (because lack of originality), no one is safe… and if we continue like this maybe in the not too distant future we will see remakes of ‘Citizen Kane’. Beyond recycling, with good publicity (the restaurant joke) ensures some places at the box office. But from the trailer to various leaked photos, one discovers a problem of expectation. The problem is called ‘Chloe Grace Moretz’.

    We have to put it bluntly: Chloë Grace Moretz is not a good actress. Sure, in various roles was to rise to the occasion, and ‘Kick -Ass’ was delirious. But overall, this is a measure of the fine interpretation Moretz. That’s why, you see the photos and the trailer, raised suspicions. Great lot of questions remain unanswered: the acting range of actress suffers in various occasions. She is relatively acceptable in her shy profile (though her posture and gestures are conventional ) or its flashes of joy, but when she is in the ‘Full’ mode her outbursts are almost bizarre: emulates unsuccessfully the original eyes open fixed, but is more like a tormented mental patient than a sweet girl suffering the bullying. And in the graduation scene is also a sadness, with Moretz awkwardly gesticulating with her hands and opened her mouth as if to enjoy. It’s a cross between ‘Matilda’ and ‘The Exorcist’

    Which is a shame, because this Hit Girl did not deserve it. If Chloë Grace Moretz is 50 percent of the failure of the film, the other 50 percent is director Kimberly Peirce. This is where all submitted to the tape compared to De Palma, but bad for ‘Carrie 2013 ’ is that not even holds individually. It is likely that Peirce has been understood franchise, assumed that viewers saw the 1976 classic, for this remake of the year is really reverential but short on character development and events , undoing the terrifying and intriguing atmosphere. Sometimes does not quite know the direction to take or bring fresh elements. There are small drops of Youtube and mobile phones with cameras to recast the story updating the new millennium, added a prologue birth of the protagonist, and no more than that.

    The personality of religious mother (Julianne Moore, the film’s best performance), the slow discovery of what will happen at the prom, Christine’s sexuality, the actor who ‘replaces’ John Travolta, imagery and reading of sin and purification… these details are practically not in terms of development, removing wealth. Nor is a sad and terrifying backdrop music accompaniment composed. The avalanche of action does not working with any real seriousness, but resemble a common scene of the X -Men, there is no suspense in the ‘fall’ of the bucket but absolutely everything overwhelming. Mention to close at the cemetery where you can hear a rock song at full speed (like ‘House Of Wax’ credits; 2005), showing some joke or parody of it. It is as if Peirce lacked ambition, admitting that shall not exceed the original classic. If Peter Jackson accomplished with King Kong, then the last word has not been said . But for Peirce, she is using the original franchise core to feed parasitically off the box office, and that makes it a weak remake only suitable to entertain and not to love.

    There are some points to be noted, based on the latest written in this critical site SSSM. First, there are the obvious logic holes on the transport a 1976 film in the cynical culture of 2013: Carrie (Moretz) does not know about her period, but is smart enough to answer her mother and manage computers or make a dress; Is not that a contradiction?. Secondly, this site saw the graduation scene is better than the 1976 version . Indeed, from our point of view, not merely the absence of special effects at the time limited to De Palma, but also that this dirtector uses the “split screen” technique, which is interesting to see different angles but it is unnatural and assembled in an action scene

    (SSSM review: )

  • According to Wikipedia, a one-hit wonder is ‘a person or act known mainly for only a single success. The term is most often used to describe music performers with only one hit single, or that have one signature song that overshadows their other work’. By that logic, the original 1976 Brian de Palma classic Carrie could be described as a one-scene wonder. Of course, that one single scene is great and memorable, but is it really worth to see through a 100 min long movie just for one single scene? My answer is no, but Hollywood begs to differ, so this year we got a Carrie remake. My only explanation for the huge success of the 1976 version is that the infamous prom scene happened at the very end, so everyone, by that point, forgot the rest of the movie and left the theaters feeling satisfied. I know that the prom scene is the best aspect in the original Carrie, but putting all chips on it seems unreasonable and silly, and because of that the whole movie felt uneven. The remake isn’t much better.

    In case you don’t know the story, this almost screen to screen remake also follows Carrie (Chloë Grace Moretz), a young introverted student who has telekinetic powers and whose mother is a strict, religious nut job (Julianne Moore). One day in school, Carrie gets her first period and the rest of the girls laugh at her and bully her – especially one girl named Chris (Portia Doubleday). Another girl named Sue (Gabriella Wilde) feels sorry for Carrie and convinces her boyfriend Tommy (Ansel Elgort) to take Carrie out to the prom. He does, Carrie accepts and the rest is pretty much history.

    I had pretty much the same problems with this remake that I had with the original movie: it is uneven and, to a certain degree, boring. A big number of scenes that can be found in this movie, can also be found in every other high school movie (talking about the prom, picking at the misfit, popular girls are bullies etc.) and there’s the always present Stephen King motive of a bully being a bully just for the sake of being a bully. So this movie, instead of dwelling deeper into its thematic, settled for the same old cliches, just setting them into the modern day of YouTube and Smartphones, making the cliches ever more irritating. The two main actress did a fairly good job. Julianne Moore is great as ever, in spite of this remake being below her level. Chloë Grace Moretz is believable as Carrie, however, she doesn’t look as disturbed as much as the character of Carrie should be – and in that way Sissy Spacek is much better. Furthermore, the movie has several unintentionally funny scenes which, more than a few times, got me out of the overall mood.

    The payoff in the movie – the prom scene – is decent, but not quite as effective as in the original. It felt too short and relied more on CGI rather than on practical effects, but it still is the definite highlight of the movie. Nonetheless, I don’t think that this movie, or the original, should be praised based only on that one scene, no matter how good it is. That’s like reviewing a restaurant’s quality based only on the dessert, while completely ignoring the appetizer and the main course. This movie’s appetizer was forgettable, the main course was boring and the dessert was slightly disappointing. I won’t be eating at this restaurant ever again.

    Rating: 5/10

    Read more reviews at

  • So far, 2013 is proof that the concept of remaking classic films is probably the wrong thing to do (from a critics standpoint I guess). First, we got to witness a rather bland reboot of The Evil Dead (entitled just Evil Dead). Now, we get another bland, lifeless, and unnecessary retelling of Brian De Palma’s audacious (did I mention powerfully mesmerizing) Carrie. I get it. I know why films are redone. It’s obviously to make money and to let a newer generation get to experience something similar to what went down over 30 years ago (blah, blah, blah). Listen, if these films didn’t have an original copy that came before them, then maybe they’d be okay on their own. But the fact remains that The Evil Dead (1981) and Carrie (1976) already claimed their stake and to give them a second interpretation to me, is just sacrilege.

    Coming off as a shot for shot newbie and having the majority of the actors actually looking age appropriate, Carrie examines a shy, telekinetic girl (Carrie White played by Chloe Grace Moretz who in every scene, seems to have her mouth gaped wide open) who is picked on by her classmates at school, has a religiously defiant mother (Julianne Moore as Margaret White), and out of sheer kindness (and realized guilt), gets invited to the prom (by the most popular boy in high school). As the film progresses, we don’t quite no why, but Miss White has inherent powers by which she can move objects with her hands (the hand motions by Moretz aren’t quite believable, sorry). When she realizes she can’t take the bullying from her fellow classmates and the bible thumping crassness of her mother, Carrie goes a little bonkers (if you’ve seen the original you know the story anyway. This paragraph is basically for the people that haven’t seen either version) and well, you get the drift. What hurts this movie and may have dented the original (the only fault of the 1976 version) is the way Carrie is treated from beginning to end. You feel sorry for her as a character and there is never any resolve when the flick comes to fruition. There is never a happy ending for her and you never get to empathize with her plight. Like I said earlier, I dig the original. But I disregard this buried (no pun intended) aspect of it

    All explanations aside, with this current 2013 release, we get performances that are second rate (with the exception of Julianne Moore who plays Carrie’s mom and Alex Russell who plays a slightly different version of John Travolta’s character who is Billy Nolan), direction that lacks the swooping camerawork/spilt screen effect courtesy of Brian De Palma (even though it was helmed by the critically acclaimed Kimberly Peirce), and a lack of plodding creepiness that made the original such a 70’s relic. Even the musical score has been modernized and filtered through an MTV type vibe. Yes, this version is much more violent and its lead does some pretty demonic things (the final scene at prom gets a startling makeover), but there’s no sense of awe or dreamlike intensity that made the first one so mystifying (the opening scene in the original within seconds, trumps the new version). Also, the aspect of 70’s culture feels more tailored to this type of flick than having it take place in present day (the new Carrie has the ever popular IPhone/youtube phase going on which I know is keeping with the times, but seems overly emphasized). In hindsight, this is a faithful yet laughably unfaithful rendition of Carrie and it’s far from memorable or compelling. It hinders itself disposable and has the quintessential feel of every reboot you’ve ever witnessed (this is not a good thing). With good remakes (which are few and far between), the director adds a new twist or something more than an almost shot for shot retelling (sadly, this one comes pretty close to that). This new Carrie is on line with the type of modern horror films in which sterile, stylized blood and gore drips all over the screen while barely frightening the audience. Maybe it’s me but I miss 70’s and 80’s horror films. They’re grittier, eerier, and because of the time passed, grainier. Unless someone figures out how to reinvent the horror genre, we’re gonna get scary movies that come off the world’s biggest artificial assembly line. But hey, they’re probably gonna keep making money because people wanna jump out of their seat (or think they’re actually achieving that reaction).

    In retrospect, Carrie didn’t need to be re imagined (even though it kind of wasn’t). It comes from the mind of someone who is too good for this type of stylized hack job. It’s as if Kimberly Peirce (director of the powerful Boys Don’t Cry) was so worried that she wouldn’t get another directing opportunity and had to settle for this one. I’m hoping that she gets back to what she does best which is making hard hitting dramas based on fascinating true stories. She does get the set design right though because the White family home in this version of Carrie seems like a dead on replica of the one in the original. And Julianne Moore does harness the same psychotic intensity brought on by Piper Laurie in 76′. But alas, there’s a moral to all this. Don’t remake a great film when you know it’s better to remake a bad one. To end this review, I’ll leave you with the famous line from both Carries which is, “they’re all gonna laugh at you!” Yeah, they’re all gonna laugh at you, the viewer, if you think this is a serviceable motion picture.

    Rating: 2 out of 4 stars

    Check out other reviews on my blog:

Leave a Reply

Your email address will not be published. Required fields are marked *