Wednesday, 4 December 2013


Carrie is a film which seriously titters on the border of its genre.  I only actually watched about 10 minutes of the 25 minute genre defining footage. The rest was petty filler and whilst being quite an entertaining film - I believe I have enough inspiration to fuel a whole series of nightmares lasting about two months. Yes all that in 10 minutes. Being hardly a worthy critic of horror films - I can only justify my appreciation for the film via my love for cinema - an obsession sourced primarily from wikipedia and strict parents.

I have always sought to avoid all thrillers and horrors - as with having an active imagination and a selectively vivid memory - the thrills of the screen were often translated into nightmares. But with the threat of a sombre and dull summer ahead I abandoned this trifling inhibition.
Carrie though thoroughly predictable did not fail to deliver an exciting and entirely watchable adaption of the infamous Stephen King novel. Chloe Grace Mortez's performance undoubtedly boasts refreshing talent regardless of questionable direction from Kimberly Pierce whose vision of the film is apparently sourced from a love of the 1976 film. 

The CGI used in the film alone is worth a watch - revolutionising the iconic novel into a cinematic experience particularly in the final 20 minutes. Whilst appreciating the authenticity of the candid original 1976 adaption and its notably stronger plot depictions - I would have to favour the 2013 portrayal of various characters. Julianne Moore bringing to light a slightly more subtle (aside from exaggerated hair and makeup) and impressionable representation of Margaret White - one which cleverly implies the complexity of her character. Moretz evidently complements Moore's performance with beautifully inconsistent and hesitant responses. However Sissy Spacek's representation of Carrie in the 1976 version  is considerably more believable than Moretz' performance who is more transparent, exaggerated and hence, all the more harder to believe in. 

Perhaps the crowning merit of this controversial adaption though - a film which has been said to bring nothing new to an iconic story - is the refreshing depiction of Carrie's arch nemesis Chris Hargensen by the young Portia Doubleday. The cruel and deliciously egomaniacal representation of Chris no doubt promotes the film. The young actress takes on board all new elements of the film with the added cyber-bullying premise whilst never neglecting to embrace the original aspects of the story - the spillage of pig's blood and the character's defiance and silly courage. 

Kimberly Peirce's Carrie although lacking the originality which is apparently so sorely sought after -  satisfy die-hard fans of Stephen King. A statement which unfortunately cannot be said for lovers of horror.