If you're the 3rd filmed version of a classic Stephen King story (there was a flop musical adaptation, too), you'd better be bringing something more to the table than replacing some landlines with iPhones and throwing around references to Snapchat and YouTube. Sadly, this Carrie retelling seems hesitant to break away from the shadow of the De Palma film to exist on its own terms. Yet, it also does borrow a few lines, characterizations, and sequences from King's novel that were either omitted or changed for De Palma's film. It ends up feeling like an odd Frankenstein creation that struggles to find its footing with Chloe Moretz and Julianne Moore's performances suffering as a result.
Moretz doesn't have the pathetic helplessness than Spacek (or even Angela Bettis in the TV movie version) had, which makes her seem far too confident as Carrie. Because of this, we never feel the need to take care of her or hope she gets out of her lousy home and social status. With the way Moretz plays her, you feel like you just want to tell her to stick it out until she graduates and she'll probably be able to move away and make some other friends somewhere else.
To make matters worse, Moore plays Carrie's mother, Margaret, as the truly helpless one. She's a shy, introverted, and quiet wallflower you'd never notice on a crowded street. It's a far cry from the Margaret in King's novel and De Palma's film. She's still religious, yes, but gone is the hysterical fervor and outbursts of rage and violence, which makes audiences perk up on the edge of their seats whenever she enters a room. With Moore's performance, Margaret comes across as more of a pathetic victim than Carrie.
There's some snazzy bursts of clever effects in the climactic prom sequence, but a whole lot of goofy ones as well. A slightly more protracted demise for Chris and Billy is at least semi-satisfying (and perhaps one of the only improvements over previous re-tellings). It's all wrapped up by a somber ending (no jump scares this time) that's ruined a loud rock song.
Moretz doesn't have the pathetic helplessness than Spacek (or even Angela Bettis in the TV movie version) had, which makes her seem far too confident as Carrie. Because of this, we never feel the need to take care of her or hope she gets out of her lousy home and social status. With the way Moretz plays her, you feel like you just want to tell her to stick it out until she graduates and she'll probably be able to move away and make some other friends somewhere else.
To make matters worse, Moore plays Carrie's mother, Margaret, as the truly helpless one. She's a shy, introverted, and quiet wallflower you'd never notice on a crowded street. It's a far cry from the Margaret in King's novel and De Palma's film. She's still religious, yes, but gone is the hysterical fervor and outbursts of rage and violence, which makes audiences perk up on the edge of their seats whenever she enters a room. With Moore's performance, Margaret comes across as more of a pathetic victim than Carrie.
There's some snazzy bursts of clever effects in the climactic prom sequence, but a whole lot of goofy ones as well. A slightly more protracted demise for Chris and Billy is at least semi-satisfying (and perhaps one of the only improvements over previous re-tellings). It's all wrapped up by a somber ending (no jump scares this time) that's ruined a loud rock song.