Kimberly Peirce's re-imagining of Carrie feels as redundant as countless other genre remakes
Kimberly Peirce’s update on Stephen King’s Carrie slavishly follows the path taken by Brian De Palma’s 1976 film and fails to make any real impact. Carrie White (Chloë Grace Moretz) leads a sheltered existence under the care of her deeply religious mother (Julianne Moore) and is shunned by her peers. When she becomes the victim of a prank at her senior prom, Carrie exacts a terrifying revenge.
Early on, Peirce (whose previous films have included the Oscar-winning Boys Don’t Cry and eye-opening Iraq War drama Stop-Loss) manages to make use of the contemporary setting by drawing on the potentials of social media in high school bullying. Having set up some intriguing possibilities, Peirce then reverts to a more reverential approach which ultimately robs it of any power.
The blood-soaked finale is replayed virtually shot-for-shot, yet is nowhere near as terrifying, while its aftermath feels derivative and poorly executed. It’s a failing that also undermines the performances, with the early work done by Moretz and Moore largely going to waste. Far from recreating a classic for this generation of horror fans, Peirce’s re-imagining of Carrie winds up feeling as redundant as countless other genre remakes.
General release from Fri 29 Nov.