Monthly Archives: November 2013
The Hunger Games: Catching Fire (2013)
by Steve Habrat
Last year, a little movie called The Hunger Games snuck into theaters and became a monster hit. Remaining number one for several weeks and earning rave reviews from both audiences and critics, it was clear which young-adult-novel-turned-blockbuster-movie was filling the space left open by the Harry Potter series and the concluding Twilight series. With Lionsgate clearly understanding they have a major moneymaker on their hands, the studio furiously got to work on a follow-up that is dropping a little over a year after the first film. Among the big blockbusters bringing 2013 to a close is director Francis Lawrence’s The Hunger Games: Catching Fire, an inevitably darker middle chapter that is surprisingly thoughtful and entertaining, something you’d never imagine from a film that was slapped together in a rush for a big payday. With star Jennifer Lawrence still bringing down the house as the girl on fire herself, Katniss Everdeen, Catching Fire allows the talented young star to dig into the trauma left over from the first film and in the process, give audiences a resilient heroine who refuses to go down without a fight. I’ll take Miss Everdeen’s rebellious spunk over Bella Swan’s angsty high school drama any day, and it appears that quite possibly America is feeling the same way!
Catching Fire picks up several months after the 74th annual Hunger Games, with Katniss Everdeen (played by Jennifer Lawrence) still coming to terms with some of the horrors that she saw during the games. On the eve of the Hunger Games Victory Tour, President Snow (played by Donald Sutherland) pays an unexpected visit to Katniss and her family. President Snow warns Katniss that she needs to continue with her fake romance with fellow Hunger Games winner Peeta Mellark (played by Josh Hutcherson) in order to calm the unrest brewing in the districts. If she doesn’t comply, Snow will kill both her family and Gale Hawthorne (played by Liam Hemsworth), the mineworker Katniss has been carrying on a secret romance with. Katniss agrees to continue on with the charade, but as the Victory Tour gets underway, she sees what her win has meant to the twelve districts and the brutality being carried out by Snow’s forces. With rebellion on the horizon, Snow and new Gamekeeper Plutarch Heavensbee (played by Phillip Seymour Hoffman) devise a new way to eliminate Katniss and crush the hopes of the twelve districts. They decide to recruit all the previous winners from past games to compete against each other, drawing out some of the most dangerous contestants in the area. Realizing that Peeta and Katniss have their backs against the wall, mentors Haymitch Abernathy (played by Woody Harrelson) and Effie Trinket (played by Elizabeth Banks) get to work preparing the kids for this new game.
At nearly two and a half hours long, you could almost split Catching Fire into two different movies. The first half of the film dares to be intimate with the trauma that Katniss and Peeta suffer from and how their lives have been changed forever. They are yanked from district to district, paraded in front of grieving families who were forced to give up one of their own to the games, while scraggly town citizens look on with a mixture of awe and resentment. One particular scene has Katniss tearfully recalling her fallen friend Rue, a tearjerker moment nicely followed by that famed whistle and three finger salute. It is within these scenes that we get to see the extent of Snow’s brutality and manipulation, as his masked forces, known as Peacekeepers, pump bullets into the heads of anyone who dares show hints of rebellion. They flood into districts, trash homes and markets, and install a whipping post for anyone who acts out. As the anger simmers and director Lawrence ventures to the lavish capital where elite citizens, who sip drinks to purge their full bellies in order to eat more, rub elbows, you’ll begin to see this is going the route of class warfare. There appears to be no middle class, just those with everything and those with almost nothing. It’s heavy stuff for a young adult story, especially when Snow and Heavensbee begin discussing how to control the masses. They devise puff pieces that divert the attention of the public, blinding them to the violence and oppression spilling into the streets. It’s within this first hour that Catching Fire really does ignite, effectively earning its right to brood and scowl.
As we enter the second hour of Catching Fire, we begin meeting all sorts of different characters that seem to be introduced simply so we know who the hell they are in the third film. They are all characters that we want more from (Jenna Malone’s Johanna Mason, Amanda Plummer’s Wiress, Lynn Cohens’s Mags, to name a few), but sadly, Lawrence is forced to cover so much ground that he just can’t quite balance everything out. He has to maintain focus on Katniss and Peeta as they battle for their lives on a tropical island with as many manipulated threats as well as flesh and blood threats. There are spots where the pacing seems to stall as the contestants attempt to make sense of a lightning tree, poisonous CGI fog, CGI mandrills, and, yes, CGI tidal waves—computerized threats that drown out the human dangers that prowl that tangled mess of vines and leaves. Furthermore, the film asks us to really care when several secondary characters are killed; something that is extremely difficult considering that we have barely been gives the chance to get to know some of them. When several of the contestants finally group together to stay alive and more secrets emerge from the island itself, things manage to perk up and the thrills once again pack their punch in the grim final stretch.
As far as the A-list cast is concerned, Jennifer Lawrence is top dog once again. She’s a feisty heroine who isn’t afraid to let the world see a few tears stream down her face. Whether she is in the concrete streets of one of the districts or in the sweltering heat of the island, she remains the poised hellraiser that we fell in love with in the first film. At times, the script threatens to allow a Twilight-esque love story take control of her character, Lawrence places her character’s love life on the back burner, something that is solidly believable considering the harsh realities of the world she inhabits. Hutcherson’s Peeta is still the softie with clear feelings for Katniss, feelings that go beyond a simple friendship. Hemsworth is still underused as Gale, the beefy blue-collar mineworker who swoons for Katniss and isn’t afraid to fight back against the ruthless Peacekeepers. Banks and Harrelson are still as colorful as ever as fashionista Effie and drunken Haymitch, the eccentric mentors to Peeta and Katniss. Sutherland is still commanding as the calculating dictator Snow, who is willing to kill as many people as he needs to in order to keep his citizens in line. Hoffman is equally cruel and savage as Heavensbee, the ruthless new Gamekeeper that will stop at nothing to make sure Katniss perishes in the game. Other newcomers include Jeffrey Wright as the brainy Beetee, Plummer as Beetee’s sidekick Wiress, Jena Malone as the axe-wielding Johanna, and Sam Clafin as the charming new ally Finnick.
Compared to the original film, Catching Fire expands its scope and improves its special effects, but there are places where the computerized wizardry still looks dated. The sprawling shots of the Panem capital look great, the fire that was ablaze on Katniss’s dress has improved, and the futuristic shuttles the glide above the capital are convincing, but the poisonous fog looks cheap, the tidal waves appear rushed, and a spinning portion of the island looks way too cartoonish for its own good. One aspect that I am particularly torn over is the way the film ends, in a “to be continued…” style that doesn’t allow this installment any sense of closure, something I found immensely infuriating. However, despite leaving the door wide open, I did admire the way the film sprung multiple twists and turns in the story in such a short period of time, and I particularly liked the final blow that is sure to leave members of the audience gasping in shock. Overall, while the second half may pale in comparison to the first and some of the characters may be left a bit underdeveloped, The Hunger Games: Catching Fire still rewards with a smart script, a darker tone, and a fantastic performance from Jennifer Lawrence. Bring on round three!
Only God Forgives (2013)
by Steve Habrat
In 2011, Danish director Nicholas Winding Refn found mainstream success with his blazing art-house thriller Drive, a film that took me by complete surprise. What I figured would be just another throwaway action movie with growling muscle cars turned out to be an 80s existential gut-punch throwback that wasn’t easy to shake off. Needless to say, it definitely had me eagerly anticipating what Refn would deliver next. Two years later, Refn returns with Only God Forgives, a film that couldn’t be a bigger disappointment. Lit like Dario Argento’s Suspiria, sculpted around one of the laziest plots you could imagine, and weird just for the sake of being, well, weird, Only God Forgives reteams Refn with Drive star Ryan Gosling, an ever-welcome talent that was the head-stomping main-attraction of Drive. With a star like Gosling in front of the camera, you’d think that he would be able to bring something substantial to this snoozefest, but its as if he was sleepwalking through the role, quietly trying to make sense of what exactly Refn was trying to achieve here aside from paying tribute to his idol, Alejandro Jodorowsky, which is what he claimed to be doing with Drive. What we’re left with is a senselessly bloody exercise in style without any purpose or direction. Only God Forgives exists simply to be morose collection of empty neon images that are better suited for a music video.
Only God Forgives introduces us to Julian (played by Ryan Gosling), an American drug dealer running a boxing club that is actually a front for a drug operation in Bangkok. One stormy evening, Julian’s erratic brother, Billy (played by Tom Burke), rapes and kills a young prostitute in a seedy hotel room. The Bangkok police quickly discover what Billy has done, but rather than detaining him and taking him to the station, the police call in retried officer Chang (played by Vithaya Pansringarm), a sword-wielding sadist known as the Angel of Vengeance. Chang encourages the girl’s father, Choi Yan Lee (played by Kovit Wattanakul), to do what he wishes to Billy. In a fit of rage, Choi kills and mutilates Billy’s body. Word of Billy’s death soon reaches Julian and his associates, who track down Choi to question him about Billy’s brutal murder. Meanwhile, Julian’s mother, Crystal (played by Kristin Scott Thomas), arrives in Bangkok to claim Billy’s body and get to take control of the situation. After learning that Julian spared Choi’s life, Crystal demands that he take to the neon streets and exact bloody revenge on the men responsible.
Early on, Only God Forgives shows signs of promise with the swirling sense of dread that lingers over the hypnotic red and blue frames. Refn slowly glides his camera down harshly lit hallways aglow with red lighting that suggest that we have stepped into Hell itself. You’ll be on the edge of your seat as Billy, Julian, their associates, and a boxer stand around in a darkened room declaring “it’s time to meet the devil.” The tension and unease tighten when Billy stumbles off to a futuristic whorehouse in the hopes of finding a young fourteen-year-old girl to have his way with, something that is sure to make any viewer sick to their stomach. It all feels so tremendously evil and it’s about as atmospheric as a film can be. Sadly, the sinister mood of the film is quickly overtaken by Refn’s trudging pace, which gives way to frustrating tedium. Every single scene feels unnecessarily drawn out or glaringly hollow as characters sit around in flashing nightclubs or lavish hotel rooms staring off into space or silently plotting their next vicious move. It’s certainly pretty to look at, that I can’t deny, but it seems that Refn is under the impression that these stretches of meditative silence are thought provoking in all their surreal glory. Instead, they become mind-numbingly boring, further hurt by the lack of an entrancing character.
As far as the characters of Only God Forgives are concerned, almost every single one of them is as wretched as they could possibly be. Gosling’s Julian just sits around sulking, watching blank-faced prostitutes pleasure themselves or staring down at his quivering fists like it’s the first time he has ever seen them. He does show a few hints of compassion, which makes him slightly redeemable, but his constant detachment makes his character a major bore. Things really get weird when his sexpot mother, Crystal, shows up to scold him for not gunning down his brother’s killer when he had the chance. Crystal consistently alludes to having sexual relations with both of her sons, the most awkward coming when she discusses Billy and Julian’s, um, manhood with Mai (played by Rhatha Phongam), a prostitute paid to act as Julian’s girlfriend. Then we have Pansringarm’s Chang, a mysterious man who brings his punishing sword down on any man or woman who has committed an atrocious sin. He encourages Choi to murder Billy, only to return to chop off one of Choi’s arms for turning a blind eye to his daughter’s line of work, and he savagely tortures a gangster responsible for ordering a hit that left several citizens and police officers dead. Pansringarm’s eerily calm demeanor is meant to send chills, especially when he nonchalantly brings bloody vengeance down on his victim’s heads with so much as blinking, but Refn doesn’t write any personality into the character. The most interesting thing about him is that he likes to sing karaoke.
Only God Forgives finds Refn also reteaming with Cliff Martinez, the man who composed the chilling score for the masterpiece that is Drive. Only once or twice does Martinez unleash the retro synths that accompanied Drive and he does incorporate a throbbing organ that compliments the hellish blaze of the winding hallways we wander around, but everything else just falls flat by comparison. One of the stronger aspects of Only God Forgives is the way that Refn pays tribute to Jodorowsky, the man behind such midnight movies like Holy Mountain and El Topo. Several symmetrical shots called to mind certain scenes from Holy Mountain and there was even an echo of Kubrick in a few spots, something that was particularly surprising. Overall, while Drive was certainly going to be a tough act for Refn to follow, Only God Forgives is a disastrous follow-up that consistently allows style to mask the fact that there is very little substance. The artistic freedom is certainly refreshing and the ominous mood is undoubtedly effective, but it becomes increasingly clear that Refn is simply stroking his ego, leaving you disappointed that you didn’t just re-watch your copy of Drive. Plus, it’s a bad sign when Ryan Gosling can’t even save your movie.
Only God Forgives is available on Blu-ray and DVD.
Mini Review: Frankenstein’s Army (2013)
by Steve Habrat
Over the past several years, the horror movie market has been flooded with “found footage” movies made on the cheap. It’s easy to see why Hollywood loves producing these kinds of films, as they can be made with a small pile of cash and when they are finally dumped on the market, they can turn quite a profit for the studio. While a good majority of these films are garbage, every so often one turns out to be worth your while. Take director Richard Raaphorst’s Frankenstein’s Army, another “found footage” horror film that doesn’t necessarily break any new ground with this particular subgenre. While it might not get too creative with it’s style, Frankenstein’s Army manages to sneak by as a winner due to its must-see creature effects, all of which were achieved without the aid of rubbery CGI. Where most horror films drop the ball when they reveal their boogeymen to the audience, Frankenstein’s Army actually finds its momentum in these lumber abominations. And you know what? They are stunningly creative and absolutely terrifying. Sadly, they are the strongest part of the film, as the storyline and most of the performances fail to live up to the how-the-heck-did-they-do-that? special effects.
Frankenstein’s Army tells the story of a battalion of Russian soldiers, who are fighting through enemy territory during the final days of World War II. Among the group is Dimitri (played by Alexander Mercury), who claims to be filming a propaganda film for the Russian government. As the group pushes through the German countryside, they stumble upon a small town that is seemingly deserted. After finding a number of charred bodies and bizarre mechanical skeletons strewn about, the soldiers begin investigating the empty buildings, but as they push underneath into the town’s catacombs, they come face to face with a slew of nightmarish creatures that are half human and half machine. With their numbers quickly dwindling, the monsters closing in, and their options limited, the soldiers make a push to flee the town, but in the process, they meet Viktor (played by Karl Roden), a distant relative of the infamous Victor Frankenstein and the demented creator of these hellish monstrosities.
The early scenes of Frankenstein’s Army force the viewer to spend time with a bunch of two-dimensional soldiers as they shoot, bicker, and stomp through the scenic German countryside. Probably the only interesting moment of the first twenty minutes is a pit stop in a small German village, where our heroes decide to terrorize the frightened villagers like a pack of ravenous dogs. After a while, you fight the urge to take a nap, but rest assured that things are going to get very twisted very fast. Things finally pick up when the boys stumble upon the smoldering corpses of what appears to be nuns and twisted remains of some sort of mechanized terror. When the “Zombots” (the title their maker has bestowed upon them) finally decide to make their presence known, you’ll have a difficult time getting enough of them. They come in various shapes and sizes, one more horrific than the next. One has a plane propeller for a head while another struts around on what appears to be stilts with a drill for a head. There is even one Zombot that goosesteps towards his prey like an oversized tin soldier from Hell! They are absolutely fantastic in all their menacing steam-punk glory, made all the more horrifying through the idea that these were all created without the use of distracting CGI. It’s best not to say too much about them because most of the fun comes from being on the edge of our seat over what may come charging at us next, but just know that they are the best and most suspenseful part of the entire movie.
With Raaphorst placing all the attention on his magnificent monsters, the rest of Frankenstein’s Army begins to feel a bit rickety. The opening is dreadfully slow and he does very little with the “found footage” gimmick that he uses to tell his story. The plot itself is very thin and riddled with flaws in logic (How the heck is Dimitri still holding onto the camera—let alone, alive—when the Zombots take their swipes at him? What type of camera is he using to get a picture this good?), making it feel like we’re playing a video game rather than watching a feature length movie. As far as the film’s performances go, everyone is mediocre except for Roden, who is unhinged treat as the maniacal Viktor. For you gorehounds out there, Frankenstein’s Army delivers plenty of the red stuff. Zombots wheel around carts of bloody body parts, dead bodies dangle from the celling, and people’s heads are peeled open to reveal their gooey brains. Overall, while the “mockumentary” approach is uninspired and the entire project feels like a mash-up of Wolfenstein and Call of Duty, Frankenstein’s Army manages to milk plenty of entertainment from its ingenious monsters and Roden’s screw-loose performance, making it a horror gimmick that is worthy of your precious time.
Frankenstein’s Army is available on Blu-ray and DVD.
12 Years a Slave (2013)
by Steve Habrat
In early October, Alfonso Cuarón’s space drama Gravity was on everyone’s lips as a shoe-in at the upcoming Oscars. It was king of the box office throughout the month and it seemed impossible to meet someone who wasn’t raving about how great the film is. In the past few weeks, the hype has cooled around Gravity and has begun to heat up around director Steve McQueen’s sobering 12 Years a Slave, an unflinchingly graphic look at the horrors of slavery. Based on the autobiography of the same name, 12 Years a Slave tells the devastating story of Solomon Northup, a free black man who was ripped from his family and sold into slavery. Impeccably acted from a cast of A-list talent and featuring some of the most handsome cinematography I’ve seen all year, 12 Years a Slave lives up to its reputation as being an emotional wrecking ball that shatters your heart. McQueen allows his camera to highlight the raw emotional anguish of his characters, but its also his refusal to pull the camera away through some of the more violent images that really brings the audience to their knees. The end results are unforgettable, guaranteed to haunt you for the rest of your days.
12 Years a Slave tells the story of Solomon Northup (played by Chiwetel Ejiofor), a free black man living with his wife and two children in Saratoga Springs, New York. He makes a good living as a prominent musician and he stands as a well-respected member of the community. One day, while out on a stroll, Solomon is approached by two men, Brown (played by Scoot McNairy) and Hamilton (played by Taran Killam), who claim to be traveling artists looking to employ Solomon as one of their musicians. Solomon graciously accepts their offer over dinner and drinks, but the next day, Solomon wakes up in a dank cell with chains around his wrists. After enduring a savage beating, Solomon is told that he is being transported to New Orleans to be sold into slavery, despite his insistence that he is a free man. Upon his arrival in New Orleans, Solomon is sold to William Ford (played by Benedict Cumberbatch), a kindly plantation owner who is receptive to Solomon’s ideas and even gives him a violin after learning he is a muscian. After a nasty confrontation with Ford’s overseer John Tibeats (played by Paul Dano), Ford is forced to sell Solomon to Edwin Epps (played by Michael Fassbender), a brutal plantation owner who enjoys relentlessly tormenting his slaves. Fearing for his safety, Solomon begins plotting a way to get away from Epps and to be reunited with his family.
Last year, Quentin Tarantino delved into the topic of slavery with his grindhouse revenge tale Django Unchained, a film that was accused of allowing one of the darkest chapters in American history to morph into a blood-splattered cartoon. Despite the attacks, I still thought that Django Unchained struck a chord with some of its material and it really sent a chill with the way it presented the seething racism of the time (It also topped my list of the best of 2012). While it’s undeniable that Tarantino padded portions of his film with dark humor and winking nods to obscure spaghetti westerns, McQueen’s 12 Years a Slave never even considers softening on the viewer. He keeps his camera fixed on the weary faces of those forced to labor away in the hot sun, allowing the anguished cries of a woman separated from her two young children to slice our soul, and the souring hope in Solomon’s eyes etch itself into our brains for the rest of our days. When he pauses to show us the overkill brutality of a lashing, there is no eruption of candlewax blood that calls attention to the fact that you’re just watching a slice of escapism. It’s a bit too realistic, especially when the cries of pain jolt you in your seat. McQueen is careful not to exploit the graphic violence, refusing to give long glimpses of slashed skin or puffs of blood. He drives its impact through constantly allowing us to see the faces of those who are enduring the beating—something that is sure to cause certain audience members to break down in tears.
Further securing 12 Years a Slave’s place in cinematic history is the A-list talent, especially the barbaric Fassbender and the crushed Ejiofor. A good majority of Ejiofor’s performance is in his wide eyes as he constantly stares just past the camera or down at the dirt under his feet, attempting to make sense of his current situation. It seems like he is always holding back tears and reassuring himself that he will not bow to the cruel overseers that patrol around with guns and whips. His passion sucks the air out of the theater as he is beaten down in the jail cell, told repeatedly that he is bluffing about being a free man and that he is simply a runaway from Georgia. We feel his desperation, fear, confusion, and anger as he pleas to be unlocked from the chains that imprison him. On the plantations, its unbearable to see him forced into submission, the only bright spots coming when the impressed Ford realizes the potential in him. A sickening dread takes over in the second half of the film when he is sold to Fassbender’s Epps, an abusive monster that enjoys waking his slaves in the night, dragging them up to the main house, and forcing them to dance for his amusement. He never passes up the chance to humiliate them; giggling at their trembling anxiety while he weighs the amount of cotton they picked for him that day. He’s also consistently at odds with his lust for the frail slave girl Patsey (played by Lupita Nyong’o), who he awakens in the middle of the night to have his way with, only to give way to instant disgust in himself. You won’t believe your eyes as he drools down on her, choking and slapping the poor girl for no reason at all.
As far as the secondary performers are concerned, Cumberbatch’s Ford is a gentle individual who hasn’t blinded himself to the fractured humanity in the men and women before him. Paul Dano’s John Tibeats is a stringy racist who forces the new slaves to clap their hands while he cheerily sings a menacing song about a runaway slave being caught and severely punished. Paul Giamatti shows up briefly as Theophilus Freeman, the man in charge of selling these petrified souls to leering plantation owners who act as though they are purchasing livestock rather than a human being. Brad Pitt gives a small but pivotal performance as Samuel Bass, a Canadian who is sympathetic to the cowering individuals aiding him in his construction. Scoot McNairy and Taran Killam will earn your disgust as Brown and Hamilton, the two men responsible for kidnapping Solomon and selling him into a world of constant suffering. Nyong’o is fantastic as Patsey, Epps’ favored slave who is loathed by his wife, Mary. Sarah Paulson brings Mary Epps to life with plenty of terrifying gusto. Don’t be fooled by her glimmers of kindness, as cruelty is always close behind it.
As far as some of the technical aspects are concerned, the cinematography from Sean Bobbitt offers us some natural beauty in between some of the more disquieting moments of the film. Also worthy of mention is the score from Hans Zimmer, who trades in the pounding drums of The Dark Knight Rises and Man of Steel for a much more intimate score that captures the film’s wounded spirit. In the film’s darker sequences, the tranquility is traded for wailing strings that will make the hair on your arms stand up. One complaint I have with the film is that I would have liked to have seen just a little bit more of Solomon’s life before he was sentenced to the fields. We get a handful of flashbacks that get the job done, but considering the length of the film, I was left wanting just a bit more than I got. Overall, McQueen’s 12 Years a Slave is a searing experience that is elegantly shot, sharply written, courageously realistic, and superbly acted by all involved. This is an emotionally taxing and startlingly powerful film that sends you away at a loss for words. I find it difficult to believe that there will be another film this year that challenges its status as the best of 2013.
Mini Review: Carrie (2013)
by Steve Habrat
Each year, it seems that Hollywood continues down the long list of classic horror movies and picks another one or two that they believe are in desperate need of an update. This year, we’ve seen spiffy remakes of The Evil Dead and the lesser-known Maniac, but it seems that Hollywood wasn’t eager to stop with those two. Rounding out the horror remakes for the year is director Kimberly Peirce’s Carrie, a teen-scream thriller revamped for a generation raised on Facebook, Twitter, and YouTube. Now, don’t get me wrong, Peirce’s Carrie isn’t a bad film. It’s got quite a bit in the way of suspense and it’s slickly made with pretty faces, expensive special effects, and big names that look good on a poster. However, like a good majority of horror remakes out there, Peirce and her screenwriter, Lawrence D. Cohen and Roberto Aguirre-Sacasa, do absolutely nothing new with Stephen King’s breakout material. It’s exactly what we saw in Brian De Palma’s 1976 Sissy Spacek version, just with minor scene and plot tweaks to give the illusion that the filmmakers aren’t being a tiny bit lazy. This remake falls in with the bunch that are almost shot-for-shot reconstructions of other, better movies. (Tsk tsk)
Carrie introduces us to Carrie White (played by Chole Grace Moretz), an introverted high school senior who is consistently targeted by her bullying classmates. One day, while showering after gym class, Carrie experiences her first period. Horrified and confused due to her deeply religious upbringing by her mother, Margaret White (played by Julianne Moore), she screams for help from her peers. Naturally, the girls see a prime moment to tease the poor girl and one of Carrie’s main tormentors, Chris (played by Portia Doubleday), even decides to film the girl’s anguish on her smartphone so that she can later post it on YouTube. The viscous teasing is finally stopped by Miss Desjardin (played by Judy Greer), the no-nonsense gym teacher who sticks up for Carrie. Miss Desjardin takes Carrie to the principal’s office where Carrie is told that the school will have to notify her mother of the incident. Terrified over her mother learning of the incident, Carrie uses telekinesis to blow up a water cooler. Confused by this emerging talent, Carrie begins researching telekinesis and teaching herself how to control it. Meanwhile, Sue (played by Gabriella Wilde), one of the girls that were present during the locker room incident, begins feeling bad about the way she treated Carrie. Sue asks her boyfriend, Tommy (played by Ansel Elgort), a popular jock that all the girls swoon over, to take Carrie to prom and show her a good time. After multiple attempts to ask her, Tommy finally gets Carrie to say yes, but her mother forbids to her to go, fearing that something awful will happen. Carrie defies her mother’s wishes, but as it turns out, Chris has something in store for Carrie that will push the tortured soul over the edge.
While it’s never quite as creepy as the 1976 original, Carrie 2013 does pack plenty of suspense, especially in its second half. The minutes leading up to that bucket of blood being dumped on the poor girl’s head are sickening, mostly because we hate to see Carrie’s high come crashing down. There is also plenty of unease coming from her crackpot mother, Margaret, a fanatical Christian who self mutilates and is convinced that Carrie’s telekinesis is the work of the devil. The suspense crafted by Peirce is all well and good, but it should never be confused with legitimate scares. Nothing you see here will keep you from a good night’s sleep. However, the fact that it is able to generate any form of suspense is miraculous because the filmmaker’s take very few risks with a story almost everyone is familiar with. The early scenes are loaded with smartphones, social media harassment, teenage slang, and current radio hits by of-the-moment bands, all things that you expect from a remake looking for approval from the teen crowd that snuck into it. Sadly, it becomes increasingly clear that the filmmakers had nothing new to bring to the story—it’s just brought up to modern times for modern audiences, which makes some Carrie 2013 a bit of a bore. Even worse, it leaves you questioning the point of remaking the film in the first place.
Complimenting Peirce’s suspense are the performances from Moretz, Moore, and Greer, all of which are at the top of their game. Moretz is the very definition of pitiful as Carrie, a tragic girl with barely a friend in the world. She clutches her books tightly to her chest as she hurries through the halls, making sure she doesn’t glance over at the hurtful graffiti painted on the wall about her. Moore is a spitfire as the insanely religious Margaret, a scowling Bible thumper who locks poor Carrie in a closet and forces her to pray for hours on end. Greer earns your respect as the fuming gym teacher Miss Desjardin, a flurry of discipline who sticks up for the timid girl who is always hiding at the back of the class. Portia Doubleday is also memorable as the seething Chris, the vile and arrogant popular girl who hatches the plot to dump the pig’s blood on Carrie’s head. Overall, while there are several moments of Carrie 2013 that make you sit up and take notice, Peirce’s remake seems to exist solely for teenagers who don’t want to be bothered with De Palma’s original because it’s too dated for their tastes. This could have been a vehicle to explore bullying in the social media age, but instead it just looks the other way and refuses to spark an intelligent discussion on the topic. Oh well, at least it looks hip sitting on the sidelines.