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Carrie (2013)

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A shy girl, outcasted by her peers and sheltered by her religious mother, unleashes telekinetic terror on her small town after being pushed too far at her senior prom.

Director:

Kimberly Peirce

Writers:

Lawrence D. Cohen (screenplay), Roberto Aguirre-Sacasa (screenplay) | 1 more credit »
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1,991 ( 372)
6 wins & 7 nominations. See more awards »

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Cast

Cast overview, first billed only:
Julianne Moore ... Margaret White
Chloë Grace Moretz ... Carrie White
Gabriella Wilde ... Sue Snell
Portia Doubleday ... Chris Hargensen
Zoë Belkin ... Tina
Samantha Weinstein ... Heather
Karissa Strain ... Nicki
Katie Strain ... Lizzy
Ansel Elgort ... Tommy Ross
Demetrius Joyette ... George Dawson
Judy Greer ... Ms. Desjardin
Barry Shabaka Henley ... Principal Morton
Arlene Mazerolle ... Miss Helen Finch
Evan Gilchrist Evan Gilchrist ... Greg Delois
Eddie Max Huband Eddie Max Huband ... Harry Trenant (as Eddie Huband)
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Storyline

The outcast teenager Carrie White is bullied by her classmates at high school. Her mother, Margaret White, is a pious and paranoid woman that sees sin everywhere and the need of self-inflicting punishment. When Carrie has her first period, she does not understand what is happening to her and her classmates humiliate her in the changing room. The spiteful Chris Hargensen videotapes Carrie with her cell phone and posts it on the Internet. Their teacher Ms. Desjardin punishes the students, but when Chris challenges her, she is suspended and consequently is banned from the prom. Meanwhile, Carrie discovers that she has telekinesis and learns how to control her ability. Sue Snell, one of the girls that tormented Carrie, feels bad and asks her boyfriend Tommy Ross to invite Carrie to go with him to the prom to make up for what she did to Carrie. But Chris and her boyfriend Billy Nolan plot an evil prank with her friends to seek vengeance for Carrie. Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Plot Synopsis

Taglines:

You will know her name See more »

Genres:

Drama | Horror

Motion Picture Rating (MPAA)

Rated R for bloody violence, disturbing images, language and some sexual content. | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official Facebook | Official site | See more »

Country:

USA

Language:

English

Release Date:

18 October 2013 (USA) See more »

Also Known As:

Carrie, la vengeance See more »

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Box Office

Budget:

$30,000,000 (estimated)

Opening Weekend USA:

$17,000,000, 20 October 2013, Wide Release

Gross USA:

$35,266,619

Cumulative Worldwide Gross:

$84,790,678
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Chloë Grace Moretz describes the film as a darker, more twisted version that focuses on the mother-daughter relationship. See more »

Goofs

When Tommy collapses on the stage, he is facing Carrie, but when Carrie tries to cradle Tommy, he is facing the backdrop. See more »

Quotes

[first lines]
Margaret White: [long bellowing cry from behind the door] Help me!
See more »

Alternate Versions

The theatrical version ends with a brief scene of Sue in court for the White Investigation (an integral part of the Stephen King novel otherwise omitted from the film) and then laying a flower on Carrie White's grave, which cracks as she walks away. The alternate Blu-Ray cut omits the courtroom scene and features a different edit of Sue placing the flower on Carrie's grave. This scene is followed with Sue in the delivery room giving birth, but instead of a baby, Carrie's arm emerges from between her legs and grabs her. Quick-cut to Sue's mother, who's holding and trying to awaken her hysterical, pregnant daughter from this nightmare. See more »

Connections

References Black Swan (2010) See more »

Soundtracks

End of the Earth
Written by Ben Schneider
Performed by Lord Huron
Courtesy of IAMSOUND Records
By arrangement with Sony Music Licensing
See more »

Frequently Asked Questions

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User Reviews

The fourth telling of this story adds nothing new.
19 October 2013 | by The_Film_CricketSee all my reviews

How well you respond to the new remake of "Carrie" may depend greatly on how your mind is associated with the material that inspired it. If this is your introduction to this enterprise, it may be kind to suggest that you check out Brian DePalma's original 1976 horror classic, or Stephen King's 1974 debut novel. That's where you get the true meat of the story. Kimberly Peirce's remake is glossy, pretty and professionally made, but it adds almost nothing new. It is violent and energetic, but it lacks the sustained melancholy creepiness that made the original so memorable. Peirce has the parts of the story in the right order but her film lacks a sense of tone and mood. She can play the notes, but not the music.

DePalma's film remains a permanent fixture of our popular culture because he understood that the foundation of Stephen King's best work comes from his ability to pry supernatural events out of a foundation of realism – i.e. the more realistic his environment, the scarier the magical stuff plays out. Plus, it had the added bonus of a previously unknown actress named Sissy Spacek in a brilliant performance that made her a star. Knowing that, it may be possible that no filmmaker could have revised this material. By this point there may not be anything new to explore. After the book, the 1976 movie, a 1999 sequel and a 2002 TV movie, we know this story so well that the narrative of a remake is more or less perfunctory. It becomes less a story and more of a checklist keywords: prom, dirty pillows, pig blood, tampons, prayer closet, telekinesis. The pieces are here, but there are very few surprises.

The story is one of alienation. We know that the world is populated with more young people like Carrie then than the prom queens who torment her, and with all the news stories lately about the horrors of bullying, this new film might have been a good chance to shed some light on the subject. Yet, there seems to have been no ambition to expand on the original idea. Pierce, who is openly gay, understands alienation first hand. She previously made "Boys Don't Cry," the story of Brandon Teena, a girl suffering a sexual identity crisis (for that film Hilary Swank got an Oscar for Best Actress). She also made "Stop-Loss" about a soldier who returns home from Iraq, but refuses to go back. Here, in her first big commercial film, she seems to have lost her creative edge. The movie is long on plot but very short on personality.

One of the biggest problems lies in the casting of Chloë Grace Moretz in the title role. She's so conventionally pretty that we have trouble believing that she could ever be a wallflower. This is a story about a girl who is so spaced away from the world that she might as well be invisible. She's trapped in a body that offers a telekinetic ability that she can neither control nor adequately explain. Moretz is not a bad actress, but she has such a strong screen presence that we don't feel her defenselessness.

The people around Carrie aren't people, so much as standard movie requirements. There's the snobbish queen bee (Portia Doubleday) who torments Carrie at school. There's her lunkhead boyfriend (Alex Russell) who acquires the pig blood. There's the nice guy (Ansel Elgort) who agrees to take Carrie to prom. There's the P.E. coach (Judy Greer) who defends Carrie against her tormentors. There's the principal (Barry Shabaka Henley) who is so petrified of a lawsuit that he can hardly speak. These characters aren't given personalities; they are just functions of the plot.

The one performance in the film that does work is Julianne Moore as Carrie's hyper-religious mother, Margaret. Moore does a nice job of playing a woman so encased in her own God-fearing paranoia that she shuts out a world that she feels pleasures itself at the altar of a fallen creation – which includes pretty much everyone. The worst of this vantage point she pushes on Carrie herself, locking her in a closet and declaring that her special power makes her a tool of the devil. The set designer has done a good job of creating Margaret and Carrie's home as a sponge-cleaned den of claustrophobia and blandness.

The scenes between Carrie and her mother are the best parts of this story because they reveal two broken personalities that eventually face off in a final conflict that seems to have been preordained from the moment that Carrie came into the world. The rest of the movie is pretty much a tired march through a story that's been told three times before. There are some nice touches. The prom scene is well made. Peirce allows Moretz to wave her arms during the final telekinetic fury as if she were conducting a symphony of terror and mayhem. Yet, it's a moment of originality so clever that you wish the rest of the movie had followed.

Is "Carrie" entertaining? Not really. If you know this story already, there's no real reason to see this one. It only goes to further the mystery of why remakes are even necessary. Why remake this movie beyond the attempt to cash in on a brand name? Why not remake movies that were bad? Make them better. 37 years after the Brian DePalma's masterwork, horror fans are still talking about it. This film is so forgettable that 37 years after this remake, horror fans may have to be reminded that it was ever made in the first place.

** (of four)


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