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Drama . Horror . Romance

A reimagining 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.

Actors: Cynthia Preston , Ansel Elgort , Connor Price , Max Topplin , Gabriella Wilde , Portia Doubleday , Alex Russell , Judy Greer , Julianne Moore , Chloë Grace Moretz
Directors: Kimberly Peirce
Country: USA
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Kevin C. Johnson
St. Louis Post-Dispatch

Long before the blood starts spilling, it’s clear the new team has mostly nailed it. The reboot is as good a Carrie remake as possible, though it’s not truly a scary movie; the film takes its time living up to its R rating.

Matt Zoller Seitz

For all the psychological realism of Carrie and Margaret's relationship, however, this remake has a comic book feeling.

Mick LaSalle
San Francisco Chronicle

In a way, the new Carrie is almost too easy to enjoy. Everything discordant and all the nagging weirdness and strange feelings surrounding the original have been smoothed down, and what we're left with is a well-made, highly satisfying and not particularly deep high school revenge movie.

Michael O'Sullivan
Washington Post

It’s as affecting as drama as it is effective as horror. It wrenches, even as it unnerves.

Steven Rea
Philadelphia Inquirer

If you're going to take another stab at this tale of a taunted, traumatized teen who exacts fiery revenge on, well, everyone, then Kimberly Peirce is the director to do it.

Amy Nicholson
Village Voice

Kimberly Peirce changes almost nothing in her rallying remake of Brian De Palma’s classic about a troubled telekinetic teenager. She doesn’t have to.

Manohla Dargis
The New York Times

Ms. Peirce plays up the story’s religious themes and Carrie’s burgeoning power as she discovers her telekinetic gifts, even as the dread of the female body that deepens Mr. De Palma’s version somehow goes missing.

Marjorie Baumgarten
Austin Chronicle

Carrie has proved itself to be a remarkably resilient tale that’s not likely to be plugged up anytime soon.

Peter Rainer
Christian Science Monitor

Peirce is gifted, but she lacks the ability of directors like DePalma to transform schlock into something deeply personal.

Owen Gleiberman
Entertainment Weekly

But now we're a lot more accustomed to seeing movie characters mold their destiny through special effects, and since Peirce films the climax in a rather depersonalized, shoot-the-works way, Carrie comes close to seeming like an especially alienated member of the X-Men team. She blows stuff up real good, in a way that would make the devil — or Bruce Willis — proud.

Michael Phillips
Chicago Tribune

The acting's strong; in addition to Moretz and Moore, Judy Greer is a welcome presence in the Betty Buckley role of the sympathetic gym instructor. But something's missing from this well-made venture. What's there is more than respectable, while staying this side of surprising.

Jamie Graham
Total Film

One of the more solid ’70s horror remakes, but it lacks the verve and potency, romance and heartache of the original. Still, the haircuts are a vast improvement...

Cath Clarke
Time Out London

Moretz is unnervingly talented, but Carrie is not a role she was born to play. She hasn’t a victim’s bone in her body and fluffs the early scenes when the mean girls pick on her.

Mark Dinning

A remake that doesn’t see the legacy of Carrie White burn in hell. But not one that adds much to it either.

Joshua Rothkopf
Time Out New York

Only Julianne Moore, as the Bible-thumping mom, has an instinct to go softer — how couldn’t she, after Piper Laurie? — and paradoxically, it’s a move that feels wrong, the role requiring its cantatory bigness.

Betsy Sharkey
Los Angeles Times

Peirce has done a remaking rather than a reimagining.

Joe Neumaier
New York Daily News

Where Sissy Spacek seemed otherworldly and haunted in De Palma’s film, Moretz (“Hugo,” “Kick-Ass”) is sadder. She’s a terrific young actress.

David Rooney
The Hollywood Reporter

If De Palma’s version was one part adolescent dream, three parts nightmare, with a sly streak of satire running through it, Peirce’s is a more earnest yet still engrossing take on the story that should connect with contemporary teens. At the very least it might send fledgling horror buffs scurrying to their Netflix queues to watch a vintage masterpiece of the genre.

Justin Chang

Director Kimberly Peirce’s intermittently effective third feature eschews De Palma’s diabolical wit and voluptuous style in favor of a somber, straight-faced retelling, steeped in a now-familiar horror-movie idiom of sharp objects, shuddering sound effects and dark rivulets of blood.

William Goss

Alas, despite the timeless concerns of adolescent bullying and burgeoning sexuality, Carrie as a film fails to become its own satisfyingly whole interpretation of coming-of-age horrors both literal and figurative. Its bloodshed may be all dressed up, but it ultimately has nowhere to go.

James Berardinelli

There are problems with De Palma's version, especially in its portrayal of the key relationship between Carrie and her mother, but it's a more engaging and insightful portrayal than Kimberly Peirce's too-slick remake.

Roger Moore
McClatchy-Tribune News Service

So yes, even if you know how this story goes, there are moments that work wickedly well in between the needlessly drawn out ones, by which I mean the entire, predictable third act.

Claudia Puig
USA Today

Rather than offering new blood, Carrie is a purely cosmetic revamp.

Bill Zwecker
Chicago Sun-Times

This Carrie comes off like a Lifetime film, adding little new and nothing substantial to improve on DePalma’s classic.

Rene Rodriguez
Miami Herald

This Carrie becomes less involving as it goes along, ceding its emotional power to special effects and unconvincing gore, and culminating with a closing shot so lame and uninspired, it’s as if the filmmakers just gave up and called it a day.

Nathan Rabin
The Dissolve

Despite the talent involved and the notoriety of the source material, Carrie feels strangely small, even television-sized.

A.A. Dowd
The A.V. Club

It’s a strange thing to say about a movie so obsessed with the red stuff, but this Carrie is bloodless.

David Edelstein
New York Magazine (Vulture)

The new Carrie isn’t atrocious — just flat and uninspired and compromised by the kind of mindless teen-movie “humanism” that De Palma so punkishly spat on.

Bill Goodykoontz
Arizona Republic

Comparisons are unfair and inevitable. But even when taken on its own terms, the new Carrie rings hollow, a horror movie that is unsure of itself, with little to offer the uninitiated and less to offer fans of the first film.

Ty Burr
Boston Globe

The new Carrie is a thoroughly dispiriting remake — “retread” is the appropriate word — that could have been directed by any proficient Hollywood hack.

Richard Corliss

Why did these talented folks decide to take on Carrie when they had nothing innovative to bring to it and, by refrying the same blood sausage, risked invidious comparison to the original? To put it another way: If the most modest expectations cannot be met, indeed must be crushed, then What Is Life?

Lou Lumenick
New York Post

Hollywood’s ongoing campaign to remake every horror movie of the 1970s and ’80s has finally caught up with the Stephen King-Brian De Palma classic “Carrie,’’ and the results are distressingly anemic, pig blood and all.

Kevin Jagernauth
The Playlist

When the end comes, and the suggestion of a sequel is left faintly lingering (though not in the way you’re expecting), weariness descends on just how unimaginative Carrie is and how easily it settles for the expected, rather than striving to be excitingly refreshing.

Eric Henderson
Slant Magazine

In focusing on predominately kid-gloves portrayals of her teen players, Kimberly Peirce never properly addresses the machinery behind their doom, which is why the film is relentlessly lifeless when it's not literally ripping off De Palma shot-for-shot.

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