Carrie by Kimberly Peirce

Carrie by Kimberly Peirce

A re-imagining of the classic horror tale about Carrie White, a shy girl outcast by her peers and sheltered by her deeply religious mother, who unleashes telekinetic terror on her small town after being pushed too far at her senior prom.

First off, it’s going to be very hard not to compare this remake to the original. Not because of the original’s success or how revered it was, but because of how similar both films are. This new remake of Carrie from director Kimberly Peirce, unfortunately, doesn’t do enough to justify its retelling.

The original Carrie explored the theme of power and control between adults and teenagers. Carrie’s mother Margaret hits her when Carrie doesn’t listen to her. And in another scene, a teacher cusses at a group of students and smacks one of them in the face in front of the entire class.

What works against the remake is today’s current standards of parenting.  In today’s age, hitting a child is much more frowned upon than it was in the seventies. If a kid is cussed or smacked by a teacher in school nowadays, they can legitimately fight back by bringing it to the school board or by calling the police. These politics ends up watering down the film’s themes, removing a lot of the edges off of the story. The threat of violence, whether it’s coming from adult onto the teenager or vice versa, is dampened. The state of today’s politics is not something I hold against the film, but the film doesn’t seem to want to challenge current social taboos and play in the politically incorrect. The entire effect of the horror is watered down as a result.

Director Kimberly Peirce makes up for this by adding modern horror movie aesthetics onto the story. There are loud jump scares, sharp objects are held closely into people’s faces making frantic expressions and people creepily walk by in the background undetected. The major difference between the original and the remake lies in the way that it scares its audience. In the original, the horror was a looming creepiness that stayed with me after the film ended. I reflected upon the inevitable tragedy of Carrie being an unfortunate outcast being pushed to the point of no return. In the remake, the horror is emphasized in the immediate present of the physical violence that’s about to be unleashed.

Everybody looks attractive and for a story about a social outcast in an image-conscious high school environment, that is a problem. In the novel, Carrie is described as a plump girl. Chloe Grace-Moretz is pretty regardless of how much the filmmakers try to dress her down. This works against her, but other than that, Chloe Grace-Moretz does a good job with what’s she’s given.

Julianne Moore is scary as Margaret White. It’s much more over-the-top than Piper Laurie’s version. I would argue Moore’s performance is scarier, if only because it was more psychotic and violent by comparison. The most engaging scenes are between Margaret and Carrie. The supporting characters end up becoming more black-and-white and it comes off bland. If you ask me, what makes the story so tragic are the grey areas, the edges and how it was hard to imagine how things could have ended otherwise.

Carrie is an okay adaptation that doesn’t completely honor the mechanics of its tragic story and deters from challenging the political correctness of today. It comes off more like a fairy tale than a tragedy. What the remake ends up proving is how tight the original movie was and how things are much scarier when the horror stays with you long after the story has ended. I can only say this because I seen the original film. So overall, people who haven’t seen Brian DePalma’s Carrie will probably like this version more by default.

The Conjuring by James Wan

The Conjuring by James Wan

The Conjuring by James Wan

Paranormal investigators Ed and Lorraine Warren work to help a family terrorized by a dark presence in their farmhouse.

The fact that The Conjuring is based on a true story is competently incorporated into the film’s design. James Wan takes his time with his world creation and properly sets up a believable reality. These characters act like real people. Most people wouldn’t be quick to jump to the conclusion that their house is haunted and it would realistically take a while for a family to seek help. I couldn’t spot anybody making stupid horror movie mistakes. The initial scares did not scare me, but step-by-step the scares put me into the world. As I understood the science and how these ghosts worked, my mental defenses begun to weaken and I began dreading the scares.

Wan uses every trick in the book for the scares, but they are effectively scary. Judging it from a pure horror film fan’s view, the design of the scares by themselves are probably not that fresh. But it’s genetically encoded together with the story in such a way that if you were to show one of the film’s scary sequences on Youtube to a friend, the actual scare will be dampened without the context of the story.

The best thing The Conjuring achieves is that it properly balances the horror movie genre elements with its dramatic portions. It does so by focusing on Ed and Lorraine Warren, who are fascinating larger-than-life characters and are the heart of the story. Watching the paranormal investigators set up their ghost hunting equipment and explaining how ghosts behave was equally entertaining as any of the film’s fright sequences. Where in a typical horror movie that will rely on its scares to entertain the audience, The Conjuring has an interesting real-life story and characters that we can not only be scared by, but also speculate and ponder long after the scares are over. The Warrens are the X factor what will unite horror film fans and a typical movie go-er to enjoying this movie on multiple levels. I immediately Googled the Warrens afterwards and read about their other real-life paranormal investigations. I am glad the studio has decided to make a sequel with Patrick Wilson and Vera Farmiga playing these characters again.

World War Z by Marc Forster

World War Z by Marc Forster

Gerry Lane, a retired United Nations employee who must travel the world to find a way to stop a zombie pandemic.

I haven’t read the original novel going into World War Z. There have been some complaints that this film departs heavily  from the novel, but apparently the novel reads like a series of personal accounts. If that’s the case, it’s probably more effective to experience the story through a first-person perspective for a film. On with the review…

The PG-13 rating has always been an interesting constraint for horror movies as it cancels the use of gore and forces more ingenuity in creating the scares. Marc Forster creates a constant frantic sense of jeopardy and properly raises the stakes. Even though it’s possible to outsmart and escape from these running zombies, we fear that the characters will eventually fatigue and lose from being outnumbered. The opening set piece was shot too shaky and cut too fast and it seemed like Marc Forster didn’t learn anything from the action in Quantum of Solace. But the set pieces improve as the film progresses.

By the finale, I was fully immersed into this world, alert of everything that can startle the fast-running zombies and looking out for every possible human mistake. I was cringing at every door squeak and wished a can of WD-40 would just fall out of the sky on their laps. That said, the characters don’t make typical stupid horror movie mistakes. Even in times of risk and with the occasional accidental mistake, they take the proper precautions and do the most sensical thing.

Zombie films typically are set in a town or city. What makes World War Z an unique experience is its international scope, we get to see the entire world react to the zombie outbreak. It gives a political and cultural cross-section of how different countries would react to such a catastrophic event. It holds a mirror to our current world. This was the most interesting part of it for personally as it sets itself apart from George Romero films or The Walking Dead.

The most valuable Brad Pitt brings to the film besides his star power is the big-budget production values itself. The cast performs fine but it’s by no means a performance-driven film. The studio has decided to produce a sequel, as the war in the novel lasts for a decade. And it will probably continue to draw from the U.N reports in the novel. Depending if Brad Pitt returns to the role or if the story unfolds with a new protagonist, the story can go either which way. I’ll probably see it then but for now, the epilogue doesn’t tease me that much.