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102 out of 146 people found the following review useful: Carrie: 8/10, 13 October 2002 Author: movieguy1021 (Movieguy1021@comcast.net) from Anywhere, USA
Carrie boomed Sissy Spacek's and John Travolta's career. I understand why.Carrie starts off at a gym locker room, where we find out how much the other kids hate Carrie. But, we find out that Carrie has some powers. Like in other Stephen King book-movies, the supernatural aspect is only minor compared to the rest of the story, but it comes into play at the end. Carrie's mom (Piper Laurie) is an over-protective religious zealot who makes The Royal Tenenbaums seem normal. So Carrie tries to cope with her horrible life, but it's getting tougher and tougher.Spacek is exceptional as Carrie, and I now know why she was nominated for Best Actress. Her emotions are real, not some fake tear drops that make us think she's sad. Either she has great motivation, or she's one of the best actresses of the century (or both!). Laurie was equally good as her mother who locks Carrie up in a closet everytime she thinks that Carrie has sinned. This movie wouldn't be half of what it was if the acting wasn't so great. When Carrie was sad, you were sad. When the other kids ridiculed her, you felt like you wanted to kill the kids. When she smiled, you smiled. Emotions that raw couldn't come from just any movie.If you know me, I'm a stickler for character developement. Carrie didn't take much time, but from the opening scene you knew about Carrie and her weakness. So are the secondary characters; they're nicely developed even if their role isn't that major. Travolta had a miniscule role, but he was fine in it; it led to Grease and Saturday Night Fever.The prom scene has got to be one of the most memorable scenes from a horror movie. That red tint is awesome; it's like a premonition. In fact, the movie is full of premonition: the red tint, the freaky looking voodoo doll, "They're all going to laugh at you." I'm assuming that director Brian De Palma meant to put that in, so it just isn't about some supernatural powers, it's also about foreshadowing. Also, I dig that camera movement during the dancing.The blood and gore wasn't held back, but they just put in what was necessary. De Palma obviously stole from Hitchcock's Psycho, mainly the music cue whenever Carrie is using her telepathy. Also, her school, Bates High, is another Psycho refrence.Carrie was also very creepy. It wasn't a thrill-a-minute, but at the ending, that was Scary with a capital S. The last ten or twenty minutes were scare-inducing for sure. That last jump scene in the dream...wow! It's still jumping at me. If there was one complaint I had to do about the movie, it's that it took too much time to get to main scene and the prom went on a little too long, but other than that it's a first class horrror/thriller that any horror buff needs to see.My rating: 8/10Rated R for nudity, some language, and blood.
90 out of 125 people found the following review useful: "They're all going to laugh at you", 31 March 2004 Author: Scott LeBrun from Winnipeg, Canada
Heartbreaking story, based on Stephen King's first full-length published novel, also the breakthrough film for director Brian DePalma. Sissy Spacek makes a lasting impact as Carrie White, an awkward and ostracized teenager whose classmates can't stand her merely because she's shy and "different". She is finally pushed over the edge at the climactic school prom, unleashing her telekinetic abilities in revenge.One of the best Stephen King adaptations ever, certainly one of the saddest, most poignant, and bitter movies I've ever seen. I feel sympathy for Carrie White that I don't feel for a lot of movie characters. Overall, this story is enough to shock, appall, and move me, despite occasional goofy comic touches like the tuxedo shopping scene and the gym detention music. Spacek is both beautiful and wonderful, but it's not just her that shines - there's John Travolta, in his first major movie role, Amy Irving, P.J. Soles who would be in "Halloween" two years later, Betty Buckley, and a sexy Nancy Allen who would go on to become director Brian De Palma's wife (for a bit) as well as work for him a few more times.Overall, it COULD have been more on the routine side but Spacek and composer Pino Donaggio's music really do help to make it stick in the memory. Of course, those 1970's styles and fashions just seem highly amusing to me now.This marked the first time that Irving would work with her mother, actress Priscilla Pointer, and they've worked together numerous times since, with Pointer often playing the mother of Irving's character."Carrie" was followed by a 23-years belated sequel (or follow-up) in 1999 and the more recent (and seemingly pointless) television remake in 2002.10/10
63 out of 87 people found the following review useful: MELDING OF TWO GREAT ARTISTS, 18 July 2001 Author: Bill Treadway (treads22@hotmail.com) from Queens, New York
"Carrie" is a melding of two great artists, in this case, Stephen King, who wrote the novel and Brian DePalma, who directed the film. This is a tense, exciting thriller that is also a sturdy character study. It's hard to make a film that can accomplish both, but DePalma does it. King's novel mostly dealt with a telekinetic girl who is cruelly treated by her classmates. DePalma and screenwriter Lawrence Cohen follow the novel fairly closely, with the exception of the ending, which is a great deal more sensationalistic and better, in my opinion. (King himself liked the finale and the film, as stated in his exceptional study of the horror genre "Danse Macabre")As is the case in most DePalma films, the technical credits are superb. The cinematography (by Mario Tosi)is extremely effective; colors and shadows have never been shot more effectively in a DePalma film since. The film score is by Pino Donaggio, and it marks the first collaboration between Donaggio and DePalma. (Bernard Herrmann died shortly after "Obsession" was completed) Donaggio is among the most underrated and overlooked composers of his time. His scores for "Dressed to Kill", "Blow Out" and "Body Double" are all exceptional and all deserved Oscars. "Carrie" is no less brilliant, as it accomplishes what all great scores are supposed to do: enhance the film without giving anything away. Paul Hirsch's editing is also extremely effective as it was in "Sisters", "Obsession", "Blow Out" and "Raising Cain". But it is the performances that make "Carrie" stand out. Carrie is played by Sissy Spacek in a performance of such power and strength that she received an Oscar nomination for Best Actress (the first actress ever to be nominated for a horror film; the second would be Sigourney Weaver for "Aliens")She manages to hit all the right notes. A lesser actress would have veered toward melodrama. Spacek plays the role more realistically and the film is much more effective that way. (Just in case you didn't know, Spacek was a DePalma regular, but off-screen; she was the art director for several of his early pictures). Also, "Carrie" marked the return of Piper Laurie to films after a too-long hiatus (her last credit was "The Hustler") Here, she plays Carrie's mother. Again, a lesser actress would have veered toward melodrama, but Laurie resists the temptation. Her performance is a real knockout and also garned an Oscar nomination (she should have won, but typical Academy genius set in and gave the prize to Beatrice Straight who was in "Network" for a whopping 10 minutes and really didn't do much.)Also, as a side note, this film also is a start for some future DePalma regulars such as John Travolta (his first major studio film) and Nancy Allen (her first major role)What I really liked about "Carrie" is the absolutely perfect ending. I had commented before that "Sisters" had an absolutely perfect ending. The one thing about Brian DePalma is that he knows how to end a picture. "Dressed to Kill" had a really good one, although some people hated it as well as "Blow Out". "The Fury" has the greatest ending of all the DePalma thrillers. A small note to finish: In 1999, "Carrie 2" was made by profiteers at MGM. Despite a rich premise, the film was an artistic failure. DePalma had nothing to worry about. The sequel (retread might be a better word) lacks everything that makes DePalma's original so good. Rent or buy the original, on tape (in pan-and-scan or widescreen)and DVD (widescreen)and forget the sequel, even if they give it away.**** out of 4 stars
71 out of 105 people found the following review useful: Queen Bees, Wannabes and Carrie..., 10 January 2004 Author: Gafke from United States
*** This review may contain spoilers ***
Nowadays, we have literal truck loads of books on how to deal with our tormented teenage daughters. We all know in this day and age that teenage girls are wicked bullies and the damage inflicted by their relentless bullying is often irreparable. But you don't need those books. Most of us who have watched the film "Carrie" already know the devastating effect that merciless torment can have upon us. That's why we watched the film - to see those bullies get what they deserve and to cheer Carrie on every step of the way. Carrie is an abused teenager with a void where her self-esteem should be. Her mother is a whacko religious nut who likes to violently throw Carrie around for imagined sins and lock her in the closet for days on end. Her schoolmates are spoiled rotten Clique Queens, who enjoy attacking anyone less popular than they are, for no reason at all other than that it amuses them. Carrie becomes their main target when her period - incredibly late - finally arrives one day in the locker room shower. Carrie, who has never been sexually educated and is under the impression that she is bleeding to death, freaks out. Of course, her classmates find this terribly amusing. With her the onset of her menstrual cycle, her dormant powers of telekinesis suddenly wake and cannot be controlled anymore than her newly awakened raging hormones can be. Unfortunately, no one is aware of this. As Carrie dares to stand up to her mother and begins to break out of her shell, her cruel and sadistic classmates have a plan to keep her in her place forever. Too bad they don't know how dangerous all that suppressed anger can be. Carrie gets her revenge on them all and the climax of the film is a bloody, fiery apocalypse, as Carrie unleashes her pent up anger along with her powers and literally lets them run their ferocious course.Carrie is not so much a horror film as it is a psychological one. The human mind is capable of horrors that no movie camera or special effects crew can reproduce, and the abused psyche is a monster that no one wants to see unleashed. It features great performances by Sissy Spacek as the severely damaged Carrie, Piper Laurie as her delusional mother, Amy Irving as the one teenage girl with a streak of compassion and guilt and Nancy Allen as every nerds nightmare - the Popular Girl with no morals, no feelings and no mercy.For having been written by a man (Stephen Kings first novel) this is a powerful portrait of what it is like to be a teenage girl...and an outcast one at that. The hope, the anger and frustration, all are strong and realistically portrayed. This is a film about the monster within us all.
56 out of 78 people found the following review useful: Anyone who expected just another horror movie is obviously dissapointed!, 6 March 2002 Author: Ioannis Papamargaritis from Athens, Greece
I just came back from a special showing of Carrie in the student's cinema of my university and I must say one thing: THANK YOU to the director, for this is one of the best, most moving films I've ever seen. I honestly don't understand the "it's not scary" mentality!Now, whether you want to call this horror film or thriller or whatever else is up to you, but I think Carrie's scope cannot reaches beyond just one genre! It is a thriller, but at the same time a very humane movie. You can feel the girl hurting, you hate her mother, you dislike her friends! This movie wasn't made for cheap scares: every scene is brilliantly captured. The scary parts may be rare but when they are there you just can't move from your seat!The acting is also excellent, Sissy Spacek of course deserving most of the credit, but that is not to say that the other actors aren't great too.Concerning the script, all the credit goes of course to Stephen King. When you see this movie you can really tell the difference between an artist like him an some cheap Hollywood writer (Scream?). There is so much more to the story than: -Booooo! -Aaaaaa!So, if you want to see a "scary movie", go see Scream or some other shallow horror film. However if you are looking for a terrifying but also moving film, Carrie is just right for you. And please, if you must put this work of art into one genre, its better if you put it in social drama rather than horror film. Of course it's not scary! It's MUCH more than just that.
27 out of 28 people found the following review useful: "Carrie" marked Brian De Palma's breakthrough…, 3 August 2008 Author: ironside (robertfrangie@hotmail.com) from Mexico
It is a classic offbeat horror-melodrama merging harmoniously the family Gothic extravaganza, supernatural power, and a woman's movie of a peculiar kind… It remains the cinema's best adaptation of a Stephen King novel… The film initiated De Palma's inclination for surprise diverts between playful imagination and reality, as in the opening, which swifts from a soft-core porn fantasia of girls taking a shower in the locker room to the fact of Carrie's menstruation for the first time—the first sign of "otherness" that will reserve her as an horrifying monster from her small-minded colleagues… All the oppression that Carrie undergoes both at home (with a bible beating maniacal mother played by scary Piper Laurie who develops twisted bizarre ideas) and at school to suppress tension which takes the shape of super telekinetic power, the ability to move objects with the strength of her mind… We observe with ambivalence as Carrie's insatiable revenge jumps the line into uncontrolled mass murders ever filmed… Sissy Spacek is amazing as the mocked, helpless girl pushed over the edge… Her face and body twist like a living special effect to unleash her pent up rage, as well as her character's alarming progress from painfully shy high-school teenager to Angel of Vengeance…
36 out of 55 people found the following review useful: Excellent Storytelling, 29 May 2000 Author: conspracy-2 from Denmark
This is a classic film. So I had seen it before today. But I was a kid, and I seem to remember the shock-scary parts as the catalysts to my nightmares, and not much about the rest.Today, I saw it again, armed with a huge backlog of movies. I have seen enough to discriminate the bad from the good, the mediocre from the excellent. And Carrie is certainly excellent.OK, so the premise is at first glance a little weird and far-fetched, but hey, that's Stephen King. What Stephen King also does is to somehow get these far-fetched situations blended in with believable reality. He creates a sort of grey zone between horror and reality. I suppose that's what makes his books frightening enough to entertain millions.Anyway, this is not a litterary review. Carrie White (Sissy Spacek) is a girl in her senior year of high school, raised by a fanatically christian woman (excellently played by a psycotically frizzy-haired Piper Laurie). She is teased and made fun of because of her naivety and oddness.So, a stereotypical bitch girl in Carrie's class, looking hideously 70s right down to the 'who wears' short shorts, plots a nasty, nasty surprise for Carrie. Without giving too much away, this surprise comes right at a time when Carrie is truly happy, for the first time in her life.It is in this classic scene, before and after the prank, that you see that Sissy Spacek is perfect as Carrie. She is introduced in the film as a shy, odd-looking, bland girl. Before the prank, she beams and smiles and she is beautiful. The change is truly remarkable. After the prank, well, she is pretty scary. All these attributes are contained perfectly within Spaceks appearance and acting. It's a shame we don't see her in more movies.The storytelling, as I have said in my one-line summary, is excellent. The foreshadowing of the prank is subtely and deftly introduced, so that the viewer knows in advance what's going to happen. Everyone, it seems, knows. Everyone but Carrie. We feel sorry for her and are on her side afterwards as well. This is something of a feat to pull off in Hollywood's 'white-teeth-big-jaw-squeaky-clean-super-hero' ideal.Carrie's internal development (excuse the pun) is paced just as well. Her growing rebellions against her mother, her realization that there is more to life than bible bashing...all the way through she blooms. The symbolism is perhaps a bit overstated in places (Who ever saw a Jesus figure that looked quite like that?) but is none the less quite effective, and drenches through the film appropriately.Brian DePalma is excellent at making movies that appeal on many levels. As a kid, I liked the scary parts. My mother, whom I watched it with, enjoyed it for the human interaction and the bitchiness of the girls and their 'reward'. I, as I have pointed out, enjoyed the pacing and the whole imagery of the film. Something for everyone.Oh, wait. There is one thing. The sight of Tommy Ross (William Katt) in his tuxedo is just awful. He is supposed to look sexy - the big catch at the prom - but his huge curly hair and the large lapels on his turqouise suit under his enourmous bow tie serve as a hideous reminder that the seventies were The Decade That Taste Forgot.
34 out of 52 people found the following review useful: Kinetic Energy, 14 November 2000 Author: tedg (tedg@FilmsFolded.com) from Virginia Beach
Youthful energy. That's what this is -- and what it is about.Spacek, King and Depalma are all at their most committed exuberance. Sometimes callow, but sometimes so rawly honest one often tingles quite apart from the story. See it on this basis alone. DePalma's camera has a sense of dance -- Scorcese does too, but DePalma's is more emotional. Spacek is so clean in her acting that her ability frightens. How strange it went away, like a poltergism.The story has a haunting tone, also centered on youth and yearning. Menarche as a horror, the innocent acceptance/fear of the basest religion, the brash director intelligently spoofing Hitchcock. Odd mix that, so an odd and intriguing experience.
36 out of 56 people found the following review useful: Film That Made King's Career, 17 September 2002 Author: marquis de cinema from Boston, MA
Carrie(1976) opens with a moment that would set the tone for the rest of the story. Moment in the shower represents an open awareness of the main character's sexuality and her confusion. De Palma builds and builds the moment with an effectiveness that never quiets down. Sissy Spacek conveys emotions of confusion and hysteria powerfully depicted by her facial expressions. A moment when you can feel pity for Carrie White because of the mean treatment she receives from classmates.Before Carrie(1976), Brian De Palma was known for his forays into comedies with exception of Sisters(1973), and Obsession(1976). After Carrie(1976), De Palma started to become famous for his horror/thriller features, which displayed many homages to his fave direrctor, Alfred Hitchcock as well as Dario Argento, and Mario Bava. He may not be original when it comes to some of his storylines, but at his best makes things entertaining and interesting. The Prom massacre scene is directed with some finesse, although it does feel at times that he goes overboard with the split-screen effects. The genius of Carrie(1976) is to depict the emotional meltdown of a young woman who is tormented from all sides and fronts.An intriquing look into the behavior and mind set of the teenager and the difficulties that comes with being one. The performances in the film are quite convincing in showing the cruel and nasty nature that teens who are outsiders go through every day of their life. Carrie White is portrayed in a sympathetic light whose hidden feelings of anger can be understandable. Chris Hargensen(played by Nancy Allen) is a character you love to hate because of her mean attitude towards Carrie White. Probably the meanest and most unpleasent character Nancy Allen has played in film.One of the best film adaptations from a Stephen King book besides The Dead Zone(1983), and Misery(1990). Definitely introduced the world to the writings of King, and ended up making a household name out of him as a writer of horror literature. The film plays a nice homage from a moment in Deliverance(1972) during the final moments of Carrie(1976). The Prom massacre is one of the scariest moments in horror films that would be reworked into the final scene in Ms. 45(1981). A classic 1970s horror pic that hasn't lost its touch in creating something so frightening, and very much heart chilling.
34 out of 53 people found the following review useful: the first post-modern horror film, 10 November 2001 Author: paul from philadelphia, pa
At its heart, Carrie is not a 'horror film', but a film about horror.The subject matter is physical and emotional abuse; time and time again DePalma returns to the theme of abuse to create a sense of anxiety and dread. And although our hapless heroine is the primary target of abuse (from her mother, her peers, and 'authority') abuse is also meted out liberally to others---violence against women (Travolta/Allen), and public humiliation by authority figures (Buckley/her gym class) also add to the discomfort level (the John Travolta-Nancy Allen relationship is defined solely by abuse---and they in turn are the initiators of Carrie's humiliation).Except for Betty Buckley's gym teacher, all the characters are cartoonish archetypes---and almost all of these achetypes are brilliantly drawn. Sissy Spacek and Piper Laurie deservedly have been singled out for praise, but DePalma even managed to get the right performance out of decidedly untalented performers like Nancy Allen, William Katt (who is immeasurably aided by the kind of meticulous lighting that would have made Joan Crawford envious), and P.J. Soles.Buckley deserves special mention, because she does amazing things with a completely underwritten role. By humanizing what could have been just one more cartoon (the lesbian gym teacher---lesbianism is never mentioned, but Buckley's subtle performance affirms what she has acknowledged in interviews--that she played her character as a lesbian) she provides a central point of reality that keeps the film from spinning completely out of control.DePalma's intent was clearly not to scare the audience, but to make the audience watch the film from a distance, deliberately plagarizing two of the most notable sequences in film history---Hitchcock's shower sequence and Eisenstein's use of the three-perspective split screen. The shower scene takes place early in the film, cuing the audience into the fact that this is a film ABOUT film. And in the climactic prom sequence, DePalma distances himself, and the audience, from the bloodbath on the screen by reminding us through the 'theft' from Eisenstein that its just a movie at the most critical moment.There are two significant flaws in the film. For some reason, DePalma interjected a 'fast forward' comedy sequence involving the purchase of tuxedos--the sequence serves no purpose in the film, other than to restate the obvious fact that this is 'just a movie'.The second flaw is Amy Irving's performance. Its not horrible by any means, but it just doesn't work. Irving has grown as an actress since then (she was the only decent thing about the execrable sequel to Carrie) but the demands made of her in Carrie were beyond her skills at the time it was made. 'Chris' was supposed to be the conscience of the film, but winds up as wishy-washy.Oh, and DON'T watch this film on commercial television--rent the video. DePalma engages in some sacriligeous imagery that is ALWAYS cut from the film when it is shown on television---imagery that justifies the penultimate sequence of the film itself, and brings closure to it.
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