The release of Kimberly Peirce’s faithful, solid, efficient, and therefore essentially pointless remake of Carrie gives me the opportunity to look back at the 1976 original, which is still one of my favorite films — and, in fact, one of the most important movies of my life. It’s one of the two films, the other being Robert Altman’s Nashville, that made me want to be a critic. And that’s because Carrie did more than thrill, frighten, and captivate me; it sent a volt charge through my system that rewired my imagination, showing me everything that movies could be. I’ll never forget the first time I saw Carrie, at my local mall the day after Thanksgiving. I was a teenage geek who was fast on his way to becoming a movie freak (in this culture, we all need a role, and that would be mine). But I was still finding my way in cinema world, so even though the film had been out for close to a month, I knew nothing about it. I hadn’t read any reviews; I had never heard of the director, Brian De Palma, or Stephen King, whose 1974 novel the movie was based on, or any of the actors. READ FULL STORY
Tag: Kimberly Peirce (1-3 of 3)
Everyone has a movie they saw too young. It’s basically a rite of passage — being self-aware enough to know that what you’re watching is beyond your years, but suffering through it anyway. Why do you think we include it in our Pop Culture Personality Tests?
At the Los Angeles premiere of Carrie, director Kimberly Peirce’s re-imagining of Stephen King’s 1974 horror classic (and Brian De Palma’s 1976 film), stars Chloë Moretz, Julianne Moore, and Judy Greer recounted their own tales of the movies that traumatized them in their youth.
The new teaser trailer for the 2013 remake of Carrie — which debuted last weekend at New York Comic-Con — does a solid job of paying homage to Brian De Palma’s 1976 classic adaptation of Stephen King’s best selling novel, while also establishing its own identity. It’s basically a single shot, tracking over a small town and the fiery devastation caused by social outcast Carrie White (Chloë Grace Moretz). What’s most intriguing is the chorus of narrators sharing their impressions of the girl, all of which seem to be in reaction to the fateful night Carrie destroyed her high school prom (and her high school, and her town), indicating a less straightforward narrative structure than in De Palma’s film.
Check it out below: READ FULL STORY
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