Is it just me, or does the film industry seem particularly unoriginal as of late? Most popular movies tend to fall into one of four categories: sequels, remakes, novel adaptations and works inspired by a true story. Every once in a while we see original films like “Django Unchained” or “Gravity,” but these productions are overwhelmed by the sheer number of prominent real-life figures dramatized in films, books redistributed with movie covers, and reappearances of Supermans, Batmans and Spider-Mans flying on the silver screen.
In many ways, the trend is understandable. It’s easy for filmmakers to do what’s already been done — the plot is outlined, the fan base is guaranteed and the probability of financial success is high. But films that play it safe risk boring the audience with predictability. The recent adaptation of Stephen King’s 1974 novel “Carrie” is just the latest example of such a problem.
The remake of Brian De Palma’s iconic 1976 film addresses the deadly consequences of teen bullying through the eyes of a supernatural misfit. As the title suggests, the film focuses on Carrie (Chloë Grace Moretz) — a shy outcast raised by a fanatically religious mother (Julianne Moore). Under stressful conditions, Carrie unleashes a strange telekinetic power that frightens those around her. When classmates taunt her for getting her first menstrual period at age 18, Sue (Gabriella Wilde) feels guilty for participating and convinces her boyfriend Tommy (Ansel Elgort) to take Carrie to the prom. But the high school antics continue when Chris (Portia Doubleday) dumps pig’s blood on her at the dance. It’s your classic teen horror film and, frankly, you can guess what happens next.
The advertising campaign for the movie created a huge buzz prior to its release. A promotional video for the film was framed as a prank video — where workers installed mechanical wires and remote controlled furniture in a New York coffee shop and actors staged a Carrie-esque scenario in which an enraged girl telekinetically “lifted” a man against the wall as terrified patrons looked on. The video received more than 45 million views online.
Unfortunately, “Carrie’s” advertising campaign ultimately proved to be more impressive than the film itself. The remake exactly follows Stephen King’s novel and De Palma’s original adaption, leaving nothing more than a predictable and cliché-ridden cinematic experience. Director Kimberly Peirce attempted to modernize the plot with smart phones and social media, but these shallow inclusions add no excitement or ingenuity to the adaption.
Moretz and Moore do contribute strong performances — Mortez’s multifaceted Carrie elicits a gamut of emotions as she shifts between shy outcast, vengeful psychopath and guilt-ridden murderer. Her pairing with Moore delivers some of the film’s most frightful scenes. Nevertheless, these leads can’t make up for weak supporting actors — Wilde, Elgort and Doubleday’s second-rate performances provide nothing more than pretty faces and coiffed hair to the film.
With its predictable storyline and subpar acting, “Carrie” is most terrifying for what it says about the dearth of originality in the modern Hollywood landscape.
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