‘Carrie’ remake features powerful performances

When Carrie first appeared in book form from Stephen King, a new, exciting voice in literature was born. The coming-of-age tale of a high school girl driven to violence because of incessant bullying jumped from the best-selling pages to a successful 1976 movie starring Sissy Spacek and Piper Laurie. A musical adaptation, much maligned on Broadway, although somewhat resurrected into respectfulness off-Broadway, also shared the girl’s story with audience members. It would seem that King’s original novel has been saturated for all of its influence and brilliance; however, there’s a little more left in the adaptation gas tank.

Directed by Kimberly Peirce and based on a screenplay by Lawrence D. Cohen and Roberto Aguirre-Sacasa, the 2013 version stars Chloë Grace Moretz as the troubled teen. The performance from this exciting young actress is nuanced and never over-the-top. Moretz achieves a great deal of sympathy for Carrie’s difficulties. From not fitting in at school to dealing with an overzealously religious mother, this girl has her fair share of trials and tribulations. The only kind presence in her life is a physical education teacher (Judy Greer) who protects her from the harsh truths of high school life.

Making matters worse for Carrie is her lack of knowledge in the realms of puberty and dealing with the opposite sex. A shower incident in the girls’ locker room sends her down a path of destruction (and independence) into a place of dark, dark reality.

Julianne Moore, who is still in need of an Academy Award, plays Carrie’s mother, Margaret White, a woman who answers life’s problems with a puritanical bent. From her seamstress work to her unorthodox love of singing church music around the house, this woman loves and hates Carrie with a fiery passion. Treating the teenage girl like a demon possessed, Margaret spews fire and brimstone anytime Carrie tries to rationalize a new change in her life. You want to arrive home late from school? God is watching. You want to attend the prom with a date? Better get in the penance closet.

There’s one peculiarity that everyone — Carrie, her mother and the students at school — have difficulty explaining: Carrie’s telekinetic powers. With enough concentration, this outcast can make light bulbs pop and doors slam shut. Years and years of bullying, at the hands of her mother and the girls in the locker room, have led to this bottled-up telekinesis just waiting to be unleashed.

Although Peirce’s direction is fluid and focused, the performances from Moretz, Moore and Greer save the film from uselessness. Moore and Moretz, in particular, believe in their characters, and this makes the final third of the movie, when Carrie’s powers are let loose on a gymnasium of her peers, that much more frightening. Watch the deranged attitude cloud Margaret eyes as Carrie’s lips quiver. They are tied by mutual hate for each other.

Still, despite the powerful performances, it’s difficult to match the innocence of Spacek’s portrayal and the diabolical wonder of Laurie’s acting in the original film.

Carrie is a powerful story that deserves to be experienced, and the 2013 remake performs an admirable job in trying to reignite the fire of the original source material. Who would have thought that King’s first fictional foray would prove his most haunting for decades to come. If originality is in short supply, thoughtful remakes can work.

By John Soltes / Publisher / John@HollywoodSoapbox.com

• Carrie

• 2013

• Directed by Kimberly Peirce

• Written by Lawrence D. Cohen and Roberto Aguirre-Sacasa

• Starring Chloë Grace Moretz, Julianne Moore, Judy Greer, Portia Doubleday, Alex Russell, Gabriella Wilde and Ansel Elgort

• Running time: 100 minutes

• Rated R for bloody violence, disturbing images, language and some sexual content

• Rating: