{"id":3207,"date":"2013-10-18T10:16:47","date_gmt":"2013-10-18T17:16:47","guid":{"rendered":"http:\/\/moviesharkdeblore.com\/site\/?p=3207"},"modified":"2014-10-16T11:20:39","modified_gmt":"2014-10-16T18:20:39","slug":"carrie-2013","status":"publish","type":"post","link":"https:\/\/behindthelensonline.net\/site\/reviews\/carrie-2013\/","title":{"rendered":"CARRIE (2013)"},"content":{"rendered":"

By: debbie lynn elias<\/strong><\/p>\n

Most of us are familiar with the story of CARRIE; be it through Stephen King\u2019s novel or the classic 1976 Brian de Palma film starring Sissy Spacek, complete with the now iconic blood-drenched imagery etched into our collective consciousness.\u00a0 Such a classic, it begs the question:\u00a0 Why?\u00a0 Why a new version? Why a remake?\u00a0 Why a reimagination?\u00a0 The answer is because this new 2013 CARRIE from director Kimberly Peirce is just that – a reimagination that harkens back to the original source material – King\u2019s novel.<\/p>\n

\"carrie<\/p>\n

As noted by Julianne Moore, who plays CARRIE\u2019s mother Margaret, \u201cI think it\u2019s important to note how strong the source material is.\u00a0 That novel is really an extraordinary novel.\u00a0 If you read Stephen King\u2019s book on writing, he talks about how that was his first published novel and he had thrown it in the trash.\u00a0 His wife pulled it out of the trash. . .He was working as a janitor at the time and he noticed a tampon dispenser in the girls\u2019 locker room and asked his wife what it was.\u00a0 And she told him what it was.\u00a0 Then he remembered these two girls that he\u2019d grown up with.\u00a0 Both of them were extremely marginalized; one by her extremely religious parents and the other one by poverty. . .They both dies in their 20’s for various reasons.\u00a0 He just thought about them and thought about how hard it must have been for them. . .and it all ended up being the basis for this story.\u00a0 For me, that\u2019s the heart of CARRIE.\u00a0 That\u2019s the genius of Stephen King.\u00a0 He manages to take a social issue, social cultural issue that doesn\u2019t die, doesn\u2019t go away and turn it into a grand horrific story about adolescence.\u201d<\/p>\n

For Peirce, at the heart of this 2013 reimagination is the deepening of understanding and backstory of Margaret which then gives us a point of reference for the volatile mother-daughter dynamic as well as an empathy and sympathy for CARRIE. But, going beyond that, Peirce herself digs deep into King\u2019s source material, shining a light on the super-hero aspect of Carrie White herself and her telekinetic power, thus elevating, layering and texturing the emotional levels of the story.\u00a0\u00a0 The result is both inspired and inspiring.<\/p>\n

\"carrie<\/p>\n

For the uninitiated, Carrie White is a shy high school girl who has been raised by a deeply devout far-right Fundamentalist mother.\u00a0 Home-schooled until high school, Carrie has been shielded and sheltered from the world.\u00a0 No tv, no street smarts, no real interaction with people let alone peers.\u00a0 When \u201cbad\u201d, her mother locks her in a closet plastered with crucifixes of Christ in various states of torment or repose, demanding prayer and repentance.\u00a0 The result is that CARRIE\u2019s awkwardness and insecurity makes her the victim of horrific bullying when she enters public school.\u00a0\u00a0 Her gym teacher Miss Desjardin takes a very maternal and protective interest in CARRIE, going to great lengths to punish CARRIE\u2019s tormentors, in particular, leader of the hateful pack, Chris.\u00a0 Unfortunately, Miss Desjardin\u2019s efforts come at a price – Chris wanting vengeance against CARRIE.\u00a0 Seeing the horror in Chris\u2019 misconduct and attitude does have a positive effect though as Chris\u2019 one-time best friend Sue and her boyfriend Tommy try to make amends for the torment Chris has repeatedly unleashed on CARRIE.\u00a0 So ashamed by her own part in some of Chris\u2019 schemes, Sue even foregoes the prom and has Tommy ask CARRIE.<\/p>\n

And while CARRIE gets caught up in the wonder of \u201cthe prom\u201d after all the terrible things that have happened to her, she also experiences something else wonderful.\u00a0 As she comes into her own, she finds that she has telekinetic powers.\u00a0 Diverting herself from the pain of\u00a0 bullying and her mother\u2019s cloistered psychosis, she focuses on the wonder of learning about her gift, and celebrating the joy of being asked to the prom.\u00a0 We begin to see a light in CARRIE\u2019s spirit, a light that her mother – and Chris – threaten to extinguish, forcing CARRIE to exercise the limits of her newfound power on prom night turning a dream into a nightmare from hell.<\/p>\n

\"carrie<\/p>\n

Chloe Grace Moretz is a refreshing delight as CARRIE.\u00a0 Making the transition into this more mature role, and thanks to a strongly constructed character and thematic elements more in line with King\u2019s book, Moretz gives CARRIE herself a depth and dimension that was absent in Sissy Spacek\u2019s 1976 performance.\u00a0 Moretz is as believable as a shy, frightened teenager as she is a telekinesis wielding monster (with some really cool zombielike\/demonic stilted movements to her physicality) or smiling beautiful prom queen, much of which is due to her level of acting experience and ability to immerse herself in character and story.\u00a0 Her scenes with Julianne Moore are powerful, riveting us to the screen, particularly in the climactic third act.\u00a0 As Moore lovingly notes, \u201cIt was fun for me to work with a true adolescent. . .She is so delightful.\u00a0 We got very close on the set. . . It was really important to me that she feel comfortable with me, that she turned to me if she needed anything. . . It makes you able to go as far as you can emotionally, especially when you\u2019re dealing with a child.\u201d\u00a0 Of particular note is that Moretz captures the hope and positive energy of this reimagination of the character of CARRIE, from the sweetest nuance of a slowly awakening smile to widening smiling eyes.\u00a0 During displays of her exploring CARRIE\u2019s newfound telekinetic, a symbiosis between performance and script displays an almost \u201csuper hero vibe\u201d that is welcoming, creating a wonderful emotional dichotomy and ambiguity. We see Moretz grow and change and come into her own right before our eyes just like CARRIE.<\/p>\n

As Margaret, Julianne Moore is nuanced texture and depth of emotion.\u00a0 She makes you want to explore Margaret\u2019s psyche and understand what makes her tick.\u00a0 Much expanded here from the 1976 film, the role allows for Moore to dig deeper, get back to King\u2019s themes and construct, delivering a performance that is psychological mind-blowing.\u00a0 Thanks to director Peirce and screenwriter Roberto Aguirre-Sacasa, we see Margaret\u2019s psychosis play out on screen, starting with the birth of CARRIE and leading us through Margaret\u2019s loneliness and her own brand of penitence – self-flagellation.\u00a0 Be it by banging her head against a wall or self-mutilation with knives, seam rippers, scissors, etc., we see the cavernous cracks within her, something that allows Moore to dig in and play.<\/p>\n

\"carrie<\/p>\n

\u201c The very first scene where she gives birth.\u00a0 That was important to me in developing the character because this woman was so isolated, so crazy, that she didn\u2019t know she was pregnant.\u00a0\u00a0 She and her husband were involved in a religious organization.\u00a0 She found the organization too lax, so they separated from that organization and formed their own church.\u00a0 They were their own church.\u00a0 He died, leaving her alone and presumably pregnant.\u00a0 She thought she had cancer.\u00a0 She thought she was dying and then gave birth to this baby girl.\u00a0 When you think this is how isolated she was and yet this was her only relationship, this little girl.\u00a0 Starting there with kind of basis of her character.\u00a0 It was a wonderful thing to have from the book; that idea.\u00a0 That\u2019s where she was coming from and that\u2019s the kind of world Carrie was growing up in. . . .\u00a0 I loved all of the self-mutilation stuff!\u201d\u00a0 Stepping back and looking at the abusive nature of Margaret, Moore notes that the self-flagellation and the \u201ccutting\u201d tells us that Margaret \u201cis trying to feel something, is so far away from themselves and any kind of reality\u201d that it makes her \u201cinsanely abusive.\u201d<\/p>\n

Supporting cast is strong, starting with Portia Doubleday who, as Carrie\u2019s lead tormentor, Chris, delivers a performance steeped in emotion, capturing the nuance and fracture that makes Chris who she is.\u00a0 Doubleday\u2019s emotional and peer-driven fall from grace is impactful and she nails the character fully from vocal intonation and inflection to facial expression.\u00a0 As the penitent Sue Snell, Gabriella Wilde also embodies her character arc with a grounded believability and sensitivity.\u00a0 Judy Greer easily tackles the role of Miss Desjardin with a non-nonsense, yet compassionate tone.<\/p>\n

Directed by Kimberly Peirce and written by Roberto Aguirre-Sacasa based on Lawrence D. Cohen\u2019s original screenplay and the novel by Stephen King, CARRIE soars on its own wings and as noted, tackles social issues, and particularly bullying, with a 21st century spin.\u00a0\u00a0 As Moore, a mother herself, notes, \u201c[Bullying] is a huge, huge topic.\u00a0 You need to be very very careful with it. You can\u2019t tar everything with the same brush because there\u2019s a tremendous spectrum of behavior.\u00a0 At one end you might have teasing. . . but then there\u2019s true isolation and real abuse.\u201d\u00a0\u00a0 Also coming into play are concerns about the religious themes in the film.\u00a0 According to Peirce, \u201cThat was one of the most fascinating things for both Julianne [Moore] and I. . .How do you make that clear, that [Margaret] was part of a church and she left? [We had to] make sure the iconography in the house was specific, but didn\u2019t make you go down the road of one religion. . .we felt a big responsibility to get it right.\u201d\u00a0 Together with production designer Carol Spier, that concern, and others, are succinctly achieved.<\/p>\n

\"carrie<\/p>\n

Described by Peirce as a \u201chorror thriller [with] a girl who has super\u00a0 powers and as she goes through those super powers, it\u2019s thrilling and it\u2019s terrifying to see how they\u2019re gonna manifest\u201d, Aguirre-Sacasa and Peirce walk the fine line of story, paying homage to De Palma\u2019s film, while making CARRIE their own.\u00a0 While the \u201cbiggest engine of the story is the mother-daughter relationship. . .the second thing is the powers.\u00a0 The powers drive her forward because it\u2019s an identity story, it\u2019s a girl who\u2019s getting control of something. . .and if I was going to honor the book, that I would bring up the super hero origin story.\u201d<\/p>\n

As strong as the story is, the visuals are equally so.\u00a0 A director who \u201clikes building real worlds\u201d, Peirce turned to cinematographer Steve Yedlin and visual effects guru Dennis Berardi for the expertise that allowed her to \u201clive in a digital domain and actually do things that hadn\u2019t been before but integrate them fully on a story and character level.\u201d<\/p>\n

\u201cI wanted a story that you fell in love with and you went deeply inside the main characters.\u00a0 It was important to me that the choice of colors would be intoxicating to you, that it would bring you in.\u00a0 It was also important because I was moving from film to digital. I used the Alexa and the Alexa has a level of warmth and depth to it that will also bring you in.\u00a0 I spent a lot of time with Steve on the equivalent of a mini-techno crane. . .I kept that techno-crane alive on my set everyday and it allowed us to just move into places that you couldn\u2019t imagine.\u00a0 That allowed us to feel connected to the characters. . .The Steadi-Cam was also important to me.\u00a0 In the house, I wanted you to feel when Margaret was chasing Carrie down because Margaret was dominating her (and vice versa), that that Steadi-Cam was right on her and as she\u2019s going, you\u2019re moving back and you feel the walls of that house close in on you.\u201d\u00a0\u00a0 When it comes to visual effects, something \u201creally important\u201d to Peirce, \u201cAgain, going back to the powers and back to this protagonist who we love, they were always emanating out of her.\u00a0 That was something with Dennis that we really worked on.\u201d<\/p>\n

\"carrie<\/p>\n

Filmmakers will appreciate the fact that Peirce and her team did more than a few things \u201cout of the norm\u201d; one of them being the climactic destruction of the White residence which was done early on in the production as opposed to the end.\u00a0 For Peirce,\u00a0 \u201cThat was thrilling to be able to do that to the house!\u201d\u00a0 Designed so as to \u201ccollapse\u201d and fold in on itself, while the White house itself was a physical structure with real sets and design, the destruction was executed digitally.\u00a0 Photo-surveying the house with over 6500 images and a lidar scan, the digital house was created which then allowed for dazzling visual destruction, complete with stones and boulders falling from the sky.\u00a0 On the other hand, when it came to the infamous prom sequence, much of the scene was approached as an action movie, melding practical physical stunts and effects with camera tricks and digital enhancements.\u00a0 Wire rigging also plays heavy in the practical stunt executions throughout the film, with Moretz and Moore doing all of their own stunt work.<\/p>\n

Integrated with the story, lighting and color saturation is clear, crisp, saturated and distinctive, establishing a tonal bandwidth that visually mirrors the story and its emotional palette.\u00a0 And when it comes to blood?\u00a0 As Moretz herself chuckles, \u201cWe had a Book-O-Blood.\u201d<\/p>\n

The time is right.\u00a0 The time is now.\u00a0 As terrifying as ever, as hopeful and empowering as King\u2019s original words, in all of its blood-soaked glory, CARRIE comes of age for a new generation.<\/p>\n

Directed by Kimberly Peirce<\/p>\n

Screenplay by Roberto Aguirre-Sacasa and Lawrence D. Cohen based on the novel by Stephen King<\/p>\n

Cast:\u00a0\u00a0\u00a0\u00a0 Chloe Grace Moretz, Julianne Moore, Judy Greer, Portia Doubleday, Ansel Elgart, Gabriella Wilde<\/p>\n","protected":false},"excerpt":{"rendered":"

By: debbie lynn elias Most of us are familiar with the story of CARRIE; be it through Stephen King\u2019s novel or the classic 1976 Brian de Palma film starring Sissy Spacek, complete with the now iconic blood-drenched imagery etched into our collective consciousness.\u00a0 Such a classic, it begs the question:\u00a0 Why?\u00a0 Why a new version? […]<\/p>\n","protected":false},"author":2,"featured_media":3210,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36,9],"tags":[538,146],"class_list":["post-3207","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-movies","category-reviews","tag-carrie-2013","tag-horror"],"yoast_head":"\nCARRIE (2013) - Behind The Lens Online<\/title>\n<meta name=\"description\" content=\"Behind the Lens is your home for in-depth movie reviews, filmmaker & celebrity interviews, and more, all by industry professional and film critic debbie lynn elias...\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/behindthelensonline.net\/site\/reviews\/carrie-2013\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"CARRIE (2013)\" \/>\n<meta property=\"og:description\" content=\"Behind the Lens is your home for in-depth movie reviews, filmmaker & celebrity interviews, and more, all by industry professional and film critic debbie lynn elias...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/behindthelensonline.net\/site\/reviews\/carrie-2013\/\" \/>\n<meta property=\"og:site_name\" content=\"Behind The Lens Online\" \/>\n<meta property=\"article:published_time\" content=\"2013-10-18T17:16:47+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2014-10-16T18:20:39+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/behindthelensonline.net\/site\/wp-content\/uploads\/2013\/10\/carrie-2.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"400\" \/>\n\t<meta property=\"og:image:height\" content=\"258\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"debbie lynn elias\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"debbie lynn elias\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/carrie-2013\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/carrie-2013\\\/\"},\"author\":{\"name\":\"debbie lynn elias\",\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/#\\\/schema\\\/person\\\/2d9b602095eb0ce3d363efb75ad0b5d4\"},\"headline\":\"CARRIE (2013)\",\"datePublished\":\"2013-10-18T17:16:47+00:00\",\"dateModified\":\"2014-10-16T18:20:39+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/carrie-2013\\\/\"},\"wordCount\":2253,\"publisher\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/carrie-2013\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/wp-content\\\/uploads\\\/2013\\\/10\\\/carrie-2.jpg\",\"keywords\":[\"CARRIE (2013)\",\"horror\"],\"articleSection\":[\"Movies\",\"Reviews\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/carrie-2013\\\/\",\"url\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/carrie-2013\\\/\",\"name\":\"CARRIE (2013) - 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