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.

Jim Norton: American Degenerate

American Degenerate by Jim Norton

Recently I have seen a new side to comedian Jim Norton. This year Norton showed a more charming intellectual side when he debated with Lindy West over the topic of rape jokes on Totally Biased with W. Kamau Bell. He presented a strong logical mind and gave well-constructed counter arguments. Aside from joking that he and West should have ended the debate by making out, Norton’s side of the argument came off stronger at the end.

That matured charm continues in American Degenerate, his second comedy special from Epix, mostly in the form of a smile. Specifically, I mean the “I’m just joking” smile post-punchline. It consistently reminds the audience that he’s joking and reassures them to laugh along. In the past, Norton’s graphically crude jokes have ended with such conviction, at times it was hard to laugh. I immediately pondered about how true his jokes or perversions were. The charm shown here makes a substantial difference in his grotesque-oriented humor. Looking thinner and healthier, he delivers his jokes in a laid-back fashion and we are now able to laugh at both his perversions AND his mind.

And for that, this new hour act gets better as it goes along. Norton holds nothing back. He talks about the John Travolta masseuse lawsuit, the Colorado shootings and gun control. But the highlights for me were the self-revealing bits, like the bit about an annoying nudist at his local gym and a self-deprecating chunk where Norton talks about having sleep apnea (a condition I never heard of before) where the patient needs to wear a breathing mask to sleep. Norton even talks about how he hates bloggers, specifically how audiences like to blog and nitpick what offends them. That comedians shouldn’t have to apologize for what they say, reiterating the point he made on Totally Biased.

As an aspiring standup comedian, I agree with that statement. Comedians shouldn’t have to apologize and it’s silly how audiences nitpick what offends them. This is a mindset that audiences don’t realize themselves, so it’s good that that thought is being communicated out to the stratosphere. And on the topic of freedom, perhaps the most enjoyable part about this special is watching Norton reveling in his freedom of speech and openly talking about his thoughts, political views and sexuality, meanwhile laughing at himself in the process. He does all this unapologetically. And for that, it’s aptly titled American Degenerate.