Carrie (2013)
Certified: 15
Duration: 99 minutes
Directed by: Kimberley Peirce
Starring: Chloë Grace Moretz, Julianne Moore, Gabriella Wilde, Ansel Elgort, Alex Russell, Portia Doubleday, Judy Greer, Barry Henley
KRS release

Stephen King’s 1974 debut novel has already spawned two film versions: the 1976 classic that starred Sissy Spacek and the 2002 television film that starred Angela Bettis.

Now comes this modern version, starring one of my favourite young actresses of the moment, Chloë Grace Moretz (Kick Ass, Let Me In) and directed by Kimberley Peirce who delivered the explosive 1999 drama Boys Don’t Cry.

To be honest, I was more than just a little wary of this adaptation. The novel was one of my favourites in my teenage years and the film has been one of my favourite ever since I saw it. But somehow this modern film works, perhaps because it does not attempt to compete with the original.

Grace Moretz is Carrie White, a shy teenager who is dominated by her mother Margaret (Julianne Moore), a religious fanatic who firmly believes that every wrong happening is the result of some past sin.

Carrie has never received any form of education about how a woman’s body develops. When she has her first menstrual period while at school, she is devastated. Things get worse when one of the girls, Chris Hargensen (Portia Doubleday), and her friends end up throwing ‘girl’ items at Carrie, further humiliating her. Luckily, PE teacher Ms Desjardin (Judy Greer) intervenes.

However, one of these girls, Sue Snell (Gabriella Wilde), has second thoughts and feels guilty for having participated in this bullying session. She tries to make amends by having her popular boyfriend Tommy (Ansel Elgort) take Carrie to the prom. Margaret is not happy about this. Meanwhile, Chris is suspended for her misdemeanour and so she concocts a mean plan with her boyfriend Billy (Alex Russell) to further humiliate Carrie.

All this may seem normal high-school rivalry, however Carrie inherits telekinetic powers when she becomes a teenager. This gives her the chance to strike back at her mother and to whoever humiliates her or is perceived to be doing so.

The main reason this modern version works is because Peirce’s direction and Grace Moretz’s performance push this film out from under the shadow of Brian De Palma’s film. Comparisons are inevitable especially for those who are familiar with the original picture.

The 1976 Carrie had revolutionised the horror genre but since then, audiences have become much more jaded, hardened and the sensibilities are no longer the same. Peirce does not deviate all that much from the original but gives the film a modern tone and increases the emphasis on the telekinetic powers.

Grace Moretz really seems to be having a blast orchestrating chaos and confusion. This time round, the central figure is a more knowing character, possibly mirroring a change in the times. She is a different Carrie and when faced with a convincing Moore in fanatic mode, the result makes for very good onscreen confrontations.

For those who have not seen the original and will probably see the original as dated, Carrie will be perfect. The jaded ones like myself will find that the new release is different but still makes for a good watch. In fact, this sequel has very much tempted me to dust off that King novel and take a trip down memory lane.