This episode of Wtf Happened to This Horror Movie? was Written by Cody Hamman, Narrated by Jason Hewlett, Edited by Joseph Wilson, Produced by Lance Vlcek and John Fallon, and Executive Produced by Berge Garabedian.
Everyone knows the story of Carrie White and how bad prom was for her. And everyone around her. But did you know that Carrie had a sister? It took a couple decades for this information to be revealed, but in 1999 we were introduced to her sibling. Her name was Rachel Lang… and in its own way, Rachel’s high school experience was as horrific as Carrie’s was. Rachel’s story was told in The Rage: Carrie 2 (watch it Here), a film that many seem to have forgotten about. But we still remember it, and we’re going to let you know What the F*ck Happened to This Horror Movie.
Carrie was the...
Everyone knows the story of Carrie White and how bad prom was for her. And everyone around her. But did you know that Carrie had a sister? It took a couple decades for this information to be revealed, but in 1999 we were introduced to her sibling. Her name was Rachel Lang… and in its own way, Rachel’s high school experience was as horrific as Carrie’s was. Rachel’s story was told in The Rage: Carrie 2 (watch it Here), a film that many seem to have forgotten about. But we still remember it, and we’re going to let you know What the F*ck Happened to This Horror Movie.
Carrie was the...
- 5/15/2023
- by Cody Hamman
- JoBlo.com
Kurt Vonnegut’s quirky sci-fi novels didn’t always adapt well to film, but George Roy Hill’s 1972 effort is a faithful winner. The filmmaking craft used to ‘unstick’ Billy Pilgrim in time is nothing short of brilliant, highlighting the camera talent of Miroslav Ondricek and the editing skill of Dede Allen. The book even has a built-in sex angle that the film doesn’t shy away from — providing our first encounter with Valerie Perrine as a starlet kidnapped by aliens curious about human mating habits. The somber, sometimes spiritually-defeatist tone of the show represents the book well; it ought to be better known.
Slaughterhouse-Five
Blu-ray
Arrow Video
1972 / Color / 1:85 widescreen / 104 min. / Street Date December 3, 2019 / Available from Arrow Academy
Starring: Michael Sacks, Ron Leibman, Eugene Roche, Sharon Gans, Valerie Perrine, Holly Near, Perry King, Kevin Conway, Friedrich von Ledebur, Sorrell Booke, Roberts Blossom, John Dehner, Stan Gottlieb, Karl-Otto Alberty, Henry Bumstead,...
Slaughterhouse-Five
Blu-ray
Arrow Video
1972 / Color / 1:85 widescreen / 104 min. / Street Date December 3, 2019 / Available from Arrow Academy
Starring: Michael Sacks, Ron Leibman, Eugene Roche, Sharon Gans, Valerie Perrine, Holly Near, Perry King, Kevin Conway, Friedrich von Ledebur, Sorrell Booke, Roberts Blossom, John Dehner, Stan Gottlieb, Karl-Otto Alberty, Henry Bumstead,...
- 12/3/2019
- by Glenn Erickson
- Trailers from Hell
In the nearly half-century since author Stephen King began entertaining and simultaneously scaring the bejesus out of his countless fans around the world, filmed adaptations of his work have become so much a staple that we’re now deep into the remakes phase of his prolific output. The 2017 feature film version of King’s “It” grossed $700 million worldwide, 27 years after the creepy clown yarn had terrified TV viewers in the form of an iconic miniseries. This year, horror fans will be treated to a 30th anniversary remake of King’s classic terror tale “Pet Sematary.”
Consider this: There are currently nearly 50 King projects in various stages of production and/or development per the film and TV business-tracking site
IMDb, including: the “Shining” feature film sequel, “Doctor Sleep,” a film sequel to “It,” a third season of “Mr. Mercedes” and the second season of the King-Universe TV series, “Castle Rock.”
King...
Consider this: There are currently nearly 50 King projects in various stages of production and/or development per the film and TV business-tracking site
IMDb, including: the “Shining” feature film sequel, “Doctor Sleep,” a film sequel to “It,” a third season of “Mr. Mercedes” and the second season of the King-Universe TV series, “Castle Rock.”
King...
- 2/5/2019
- by Steven Gaydos
- Variety Film + TV
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
Adaptation (Spike Jonze)
It’s almost depressing to rewatch Adaptation in 2016, because it’s a reminder of how strong an actor Nicolas Cage is when he actually invests himself in good projects. It was soon after this that his career went off the rails, but he’s remarkably impressive here, playing the dual roles of Charlie Kaufman and his fictional twin brother, Donald. As much a mind-fuck as any other Kaufman screenplay,...
Adaptation (Spike Jonze)
It’s almost depressing to rewatch Adaptation in 2016, because it’s a reminder of how strong an actor Nicolas Cage is when he actually invests himself in good projects. It was soon after this that his career went off the rails, but he’s remarkably impressive here, playing the dual roles of Charlie Kaufman and his fictional twin brother, Donald. As much a mind-fuck as any other Kaufman screenplay,...
- 8/4/2017
- by Jordan Raup
- The Film Stage
Rebecca Lea Jun 12, 2017
Our trek through the screen adaptations of Stephen King's writing lands at the town of Salem's Lot...
The film: Ben Mears (David Soul) arrives in the town of Salem’s Lot to work on his next novel. He’s drawn to a spooky house, but finds out another newcomer, Richard Straker (James Mason) has already purchased it. As the two new arrivals to the town start to settle in, it becomes clear that something more menacing has arrived with them. And it has teeth.
Up until now, I’ve focused solely on the film output that has been based on the works of Stephen King. We’ve also gone in chronological release order so you may be wondering why the 1979 Salem’s Lot miniseries is popping up after 1987’s Creepshow 2. First of all, the next film, chronologically speaking, is its sequel, A Return To Salem’s Lot,...
Our trek through the screen adaptations of Stephen King's writing lands at the town of Salem's Lot...
The film: Ben Mears (David Soul) arrives in the town of Salem’s Lot to work on his next novel. He’s drawn to a spooky house, but finds out another newcomer, Richard Straker (James Mason) has already purchased it. As the two new arrivals to the town start to settle in, it becomes clear that something more menacing has arrived with them. And it has teeth.
Up until now, I’ve focused solely on the film output that has been based on the works of Stephen King. We’ve also gone in chronological release order so you may be wondering why the 1979 Salem’s Lot miniseries is popping up after 1987’s Creepshow 2. First of all, the next film, chronologically speaking, is its sequel, A Return To Salem’s Lot,...
- 5/29/2017
- Den of Geek
Stephen King adaptations are very hard to pull off successfully. For every Misery, there’s a Graveyard Shift; Carrie soars while Cujo stalls. The small screen has had it just as bad—the elephantine The Stand benefits from its four-night rollout, while no amount of time could save The Tommyknockers. And that’s just the tip of the iceberg—at last count, there were 91 King adaptations (I’ll need to double-check those figures) across all media. For this blurry-eyed cathode ray kid, however, nothing has yet to match the two-part graveyard dance known as Salem’s Lot (1979).
Originally airing on CBS on Saturday November 17th and 24th, Salem’s Lot was a huge success for the network; there was even talk of turning it into a weekly series. Alas, that never came to be. However, we were gifted with 183 minutes of measured, chilling suspense and terror helmed by none other...
Originally airing on CBS on Saturday November 17th and 24th, Salem’s Lot was a huge success for the network; there was even talk of turning it into a weekly series. Alas, that never came to be. However, we were gifted with 183 minutes of measured, chilling suspense and terror helmed by none other...
- 8/14/2016
- by Scott Drebit
- DailyDead
Stars: Robert Mitchum, Peter Boyle, Richard Jordan, Steven Keats, Alex Rocco, Joe Santos, Mitchell Ryan, Peter MacLean, Marvin Lichterman, Carolyn Pickman, James Tolkan, Margaret Ladd, Matthew Cowles | Written by Paul Monash | Directed by Peter Yates
One of the fun things about loving a particular medium is the aspect of things being recommended, and this is something which has really grown in prominence for me with the growth of social media and podcasts. Having so much immediate access to the thoughts and opinions of others you specifically choose to listen to, whether they align with your tastes or challenge them, enables the discovery of a great deal of content in which much pleasure can be derived. One such example of this is The Friends of Eddie Coyle, a film which I hadn’t heard of before seeing and hearing talk of it’s forthcoming release over the past few months. Seeing...
One of the fun things about loving a particular medium is the aspect of things being recommended, and this is something which has really grown in prominence for me with the growth of social media and podcasts. Having so much immediate access to the thoughts and opinions of others you specifically choose to listen to, whether they align with your tastes or challenge them, enables the discovery of a great deal of content in which much pleasure can be derived. One such example of this is The Friends of Eddie Coyle, a film which I hadn’t heard of before seeing and hearing talk of it’s forthcoming release over the past few months. Seeing...
- 1/24/2016
- by Ian Loring
- Nerdly
You’ll enjoy Mr. Barlow. And he’ll enjoy you.
Based on the Stephen King novel, Salem’s Lot is a three-hour-long miniseries that originally aired back in 1979, with director Tobe Hooper’s slow burn storytelling approach immersing viewers intricately into the world of a sleepy little town in Maine by paying attention to the atmosphere and tension King so cleverly established in his original story. From the guy who gave us The Texas Chain Saw Massacre, Salem’s Lot proved Hooper was an assured filmmaker who could still deliver shocking and jarring horror while using a more subtle directorial methodology.
At the start of Salem’s Lot, we meet writer Ben Mears (David Soul), who is returning home to the small town to write his second novel (in reality, it was also King's sophomore novel) based on the infamous Marsten House that he grew up fearing as a kid.
Based on the Stephen King novel, Salem’s Lot is a three-hour-long miniseries that originally aired back in 1979, with director Tobe Hooper’s slow burn storytelling approach immersing viewers intricately into the world of a sleepy little town in Maine by paying attention to the atmosphere and tension King so cleverly established in his original story. From the guy who gave us The Texas Chain Saw Massacre, Salem’s Lot proved Hooper was an assured filmmaker who could still deliver shocking and jarring horror while using a more subtle directorial methodology.
At the start of Salem’s Lot, we meet writer Ben Mears (David Soul), who is returning home to the small town to write his second novel (in reality, it was also King's sophomore novel) based on the infamous Marsten House that he grew up fearing as a kid.
- 10/30/2015
- by Heather Wixson
- DailyDead
These days, it seems like just about every film adaptation of a Stephen King novel is slated for a remake. Kimberly Pierce, director of Stop-Loss and Boys Don't Cry, is reportedly in talks to remake Carrie from a script by Roberto Aguirre-Sacasa for MGM and Screen Gems. The script is supposedly "more faithful" to the novel than Brian De Palma's classic version, which came out 35 years ago. Yes, you read that right: 35 years ago. Hard to believe. Producer Paul Monash purchased all film rights to Carrie from Doubleday after the book was published in 1974. He had problems placing the film until he talked with United Artists, who were eager to do something that would capitalize on the horror wave generated by The...
- 1/23/2012
- FEARnet
DVD Playhouse June 2011
By
Allen Gardner
Kiss Me Deadly (Criterion) Robert Aldrich’s 1955 reinvention of the film noir detective story is one of cinema’s great genre mash-ups: part hardboiled noir; part cold war paranoid thriller; and part science- fiction. Ralph Meeker plays Mickey Spillane’s fascist detective Mike Hammer as a narcissistic simian thug, a sadist who would rather smash a suspect’s fingers than make love to the bevvy of beautiful dames that cross his path. In fact, the only time you see a smile cross Meeker’s sneering mug is when he’s doling out pain, with a vengeance. When a terrified young woman (Cloris Leachman, film debut) literally crossed Hammer’s path one night, and later turns up dead, he vows to get to the bottom of her brutal demise. One of the most influential films ever made, and perhaps the most-cited film by the architects...
By
Allen Gardner
Kiss Me Deadly (Criterion) Robert Aldrich’s 1955 reinvention of the film noir detective story is one of cinema’s great genre mash-ups: part hardboiled noir; part cold war paranoid thriller; and part science- fiction. Ralph Meeker plays Mickey Spillane’s fascist detective Mike Hammer as a narcissistic simian thug, a sadist who would rather smash a suspect’s fingers than make love to the bevvy of beautiful dames that cross his path. In fact, the only time you see a smile cross Meeker’s sneering mug is when he’s doling out pain, with a vengeance. When a terrified young woman (Cloris Leachman, film debut) literally crossed Hammer’s path one night, and later turns up dead, he vows to get to the bottom of her brutal demise. One of the most influential films ever made, and perhaps the most-cited film by the architects...
- 6/11/2011
- by The Hollywood Interview.com
- The Hollywood Interview
Peter Yates, who died this past weekend at age 81, was one of several British directors invited to make movies in The States in the 1960s, all of whom had a particular and rare filmmaker’s gift for capturing a sense – the feel — of a setting often better than native-born filmmakers could. Yates’ obits talked about the car chase in Bullitt (1968), the Oscar nods for Breaking Away (1979) and The Dresser (1983), but they missed how this gift he shared with his UK colleagues was such a critical part of what made his best work so special.
Think of the hundreds – the thousands – of American-helmed movies set against the country’s great metropolises where the city sits inertly behind the action, as undistinguished and indistinguishable as a generic theatre backdrop. Then compare them to the almost hallucinogenically surreal Los Angeles of John Boorman’s Point Blank (1967), Manhattan’s desperate, grubby demimonde in John Schlesinger...
Think of the hundreds – the thousands – of American-helmed movies set against the country’s great metropolises where the city sits inertly behind the action, as undistinguished and indistinguishable as a generic theatre backdrop. Then compare them to the almost hallucinogenically surreal Los Angeles of John Boorman’s Point Blank (1967), Manhattan’s desperate, grubby demimonde in John Schlesinger...
- 1/12/2011
- by Ricky
- SoundOnSight
Oscar-winning director William Friedkin.
In July of 1997, I conducted the first of two lengthy interviews with director William Friedkin, regarded by many as the "enfant terrible" of the so-called "Easy Riders and Raging Bulls" generation of filmmakers who, for one brief, shining moment, seemed to reinvent American cinema in the late '60s thru the late '70s. Meeting Friedkin was something of a milestone for me at the time: I was still in my 20s, had been writing for Venice Magazine less than a year, and "Billy," as he likes people to call him, was the first person I interviewed who was one of my childhood heroes--a filmmaker whose one-sheets hung on my bedroom walls when I was growing up.
Below are the two interviews, conducted a decade apart from one another, and posted in reverse chronology. In both, Billy reveals a cunning intellect, a sometimes abrasive personal style,...
In July of 1997, I conducted the first of two lengthy interviews with director William Friedkin, regarded by many as the "enfant terrible" of the so-called "Easy Riders and Raging Bulls" generation of filmmakers who, for one brief, shining moment, seemed to reinvent American cinema in the late '60s thru the late '70s. Meeting Friedkin was something of a milestone for me at the time: I was still in my 20s, had been writing for Venice Magazine less than a year, and "Billy," as he likes people to call him, was the first person I interviewed who was one of my childhood heroes--a filmmaker whose one-sheets hung on my bedroom walls when I was growing up.
Below are the two interviews, conducted a decade apart from one another, and posted in reverse chronology. In both, Billy reveals a cunning intellect, a sometimes abrasive personal style,...
- 2/24/2010
- by The Hollywood Interview.com
- The Hollywood Interview
Back in 1986, Starlog found Big Trouble on the set of Little China.
Not long ago an “underground movie” was what you called something shot quietly for a $1.98, shown accidentally in a theater everyone thought had shut down years ago, and then raved about by a critic who usually hates these unheard-of little films.
Now, an underground movie is something else entirely—films like Indiana Jones And The Temple Of Doom, The Goonies, A View To A Kill, Young Sherlock Holmes, Return To Oz and the Invaders From Mars remake are all big-budget fantasy flicks set in elaborate subterranean worlds beneath our biggest cities and smallest towns. Now “going underground” means production design gone wild.
It also means that Big Trouble In Little China, a $25 million investment for 20th Century Fox (and just out on Blu-ray this week), isn’t nearly as unique as it might have been years ago. It means that the film,...
Not long ago an “underground movie” was what you called something shot quietly for a $1.98, shown accidentally in a theater everyone thought had shut down years ago, and then raved about by a critic who usually hates these unheard-of little films.
Now, an underground movie is something else entirely—films like Indiana Jones And The Temple Of Doom, The Goonies, A View To A Kill, Young Sherlock Holmes, Return To Oz and the Invaders From Mars remake are all big-budget fantasy flicks set in elaborate subterranean worlds beneath our biggest cities and smallest towns. Now “going underground” means production design gone wild.
It also means that Big Trouble In Little China, a $25 million investment for 20th Century Fox (and just out on Blu-ray this week), isn’t nearly as unique as it might have been years ago. It means that the film,...
- 8/6/2009
- by no-reply@starlog.com (Lee Goldberg)
- Starlog
Thirty years before The Departed and Gone Baby Gone, director Peter Yates and writer-producer Paul Monash helped codify the look and feel of a Boston crime movie with their adaptation of George V. Higgins’ novel The Friends Of Eddie Coyle. The film stars Robert Mitchum as an aging, compromised fetch-and-carry man for the mob, but the real main character of the film is Boston itself, which Yates explores from the suburbs to the crumbling industrial sectors. In its eye-catching mix of sunshine and steely gray—and old-world elegance and urban rot—The Friends Of Eddie Coyle seems to offer its ...
- 5/20/2009
- avclub.com
DVD Playhouse—May 2009
Paramount Centennial Collection Paramount Studios releases two more classic titles from its library on special edition DVD: The Man Who Shot Liberty Valance is John Ford’s last masterpiece (although he would go on to direct two more very good films) from 1962: about an Eastern lawyer (James Stewart) who travels west only to find primal brutality in the form of sadistic bandit Liberty Valance (Lee Marvin, great as always) and pragmatic brutality in local rancher Tom Doniphon (John Wayne), each two sides of a coin that represent a way of life slowly dying out as Stewart’s modern brand of civilization tames the West. A perfect film, period. Howard Hawks’ El Dorado is essentially a remake of his earlier classic Rio Bravo, with John Wayne, Robert Mitchum and a young James Caan as lawmen joining forces against corrupt cattle barons. Great fun. Two disc sets.
Paramount Centennial Collection Paramount Studios releases two more classic titles from its library on special edition DVD: The Man Who Shot Liberty Valance is John Ford’s last masterpiece (although he would go on to direct two more very good films) from 1962: about an Eastern lawyer (James Stewart) who travels west only to find primal brutality in the form of sadistic bandit Liberty Valance (Lee Marvin, great as always) and pragmatic brutality in local rancher Tom Doniphon (John Wayne), each two sides of a coin that represent a way of life slowly dying out as Stewart’s modern brand of civilization tames the West. A perfect film, period. Howard Hawks’ El Dorado is essentially a remake of his earlier classic Rio Bravo, with John Wayne, Robert Mitchum and a young James Caan as lawmen joining forces against corrupt cattle barons. Great fun. Two disc sets.
- 5/12/2009
- by Allen Gardner
- The Hollywood Interview
Butch Cassidy And The Sundance Kid producer Paul Monash has died aged 85. He passed away at his Los Angeles home after a short illness, according to his friend, screenwriter Dennis Feldman. He says, "Paul had a great love of life and two full careers as a producer and television writer. He was very active even at the end of his life. He never seemed to have lost his energy or sense of humor." Monash produced hits like Carrie and Big Trouble In Little China, as well as writing, directing and producing the popular 1960's TV show Peyton Place. He was awarded the Laurel Award by the Writers Guild Of America for Lifetime Achievement in 2000. He then quipped, "I have not written the Great American Novel. It is still in first draft."...
- 1/16/2003
- WENN
Brian De Palma, Sissy Spacek, Piper Laurie, John Travolta, William Katt and Stephen King are nowhere to be found. And with the exception of a near-catatonic Amy Irving, reprising her Sue Snell character, and some copycat plotting, "The Rage: Carrie 2" has virtually nothing in common with its 1976 forerunner.
Heck, there isn't even anybody named Carrie here, save for some cheesy flashbacks composed of the sow's blood-soaked De Palma footage.
Still, that hasn't stopped Paul Monash, the original's producer, from trying to hop aboard the big high school/horror bandwagon. But the result is a hamfisted clunker that is certain to induce more guffaws than goose bumps.
Given the above plus the lack of name leads and the current glut of teen product ("Cruel Intentions", "She's All That"), very few will likely get "Carrie-d" away.
Here's the set-up:
Rachel (Emily Bergl) is your average unpopular high school student with an institutionalized mother, nasty foster parents and a best friend who commits suicide. Oh, and she has a habit of flying into a telekinetic tizzy every time she gets a little upset.
As it turns out, the dad Rachel never met also happened to father one Carrie White and we all know what happened to her. And just in case we don't, they've thrown in a bunch of lame flashbacks to remind us.
Things seem to improve somewhat when she meets nice guy Jessie (Jason London), but it turns out he's an unwitting part of an elaborate school hoax to humiliate Rachel. Of course, they'll all pay a dear price for messing with her mind.
Newcomer Bergl is actually quite good in the role, grounding her character in a believability that somehow manages to defy screenwriter Rafael Moreu's ("Hackers") ultra-dumb dialogue.
The rest of the cast isn't so lucky, particularly Irving as Carrie's former schoolmate-turned-guidance counselor who unsuccessfully attempts to avert imminent disaster. For some mysterious reason, her performance is given in what appears to be a hypnotic trance.
Perhaps director Katt Shea ("Poison Ivy") could provide some explanation. While the picture clearly has some seriously arty aspirations, the plodding pace makes for mind-numbingly dull viewing. There's more kinetic energy in an episode of "Charmed".
Once again, as with the original, the special effects budget is saved up for the big vengeance finale. And while some of the gross-out elements (with decent digital effects created by Kleiser-Walczak Construction Co. and special makeup effects by Thomas R. Burman & Bari Dreiband-Burman) finally deliver, it ultimately commits the cardinal sin of supernatural thrillers: This "Carrie"'s not scary.
THE RAGE: CARRIE 2
MGM
United Artists Pictures presents
A Red Bank Films production
Director: Katt Shea
Screenwriter: Rafael Moreu
Producer: Paul Monash
Executive producer: Patrick Palmer
Director of photography: Donald M. Morgan
Production designer: Peter Jamison
Editor: Richard Nord
Costume designer: Theoni V. Aldredge
Music: Danny B. Harvey
Casting: Gretchen Rennell Court
Color/stereo
Cast:
Rachel: Emily Bergl
Jessie: Jason London
Sue Snell: Amy Irving
Mark: Dylan Bruno
Barbara: J. Smith-Cameron
Brad: Justin Urich
Running time -- 104 minutes
MPAA Rating: R...
Heck, there isn't even anybody named Carrie here, save for some cheesy flashbacks composed of the sow's blood-soaked De Palma footage.
Still, that hasn't stopped Paul Monash, the original's producer, from trying to hop aboard the big high school/horror bandwagon. But the result is a hamfisted clunker that is certain to induce more guffaws than goose bumps.
Given the above plus the lack of name leads and the current glut of teen product ("Cruel Intentions", "She's All That"), very few will likely get "Carrie-d" away.
Here's the set-up:
Rachel (Emily Bergl) is your average unpopular high school student with an institutionalized mother, nasty foster parents and a best friend who commits suicide. Oh, and she has a habit of flying into a telekinetic tizzy every time she gets a little upset.
As it turns out, the dad Rachel never met also happened to father one Carrie White and we all know what happened to her. And just in case we don't, they've thrown in a bunch of lame flashbacks to remind us.
Things seem to improve somewhat when she meets nice guy Jessie (Jason London), but it turns out he's an unwitting part of an elaborate school hoax to humiliate Rachel. Of course, they'll all pay a dear price for messing with her mind.
Newcomer Bergl is actually quite good in the role, grounding her character in a believability that somehow manages to defy screenwriter Rafael Moreu's ("Hackers") ultra-dumb dialogue.
The rest of the cast isn't so lucky, particularly Irving as Carrie's former schoolmate-turned-guidance counselor who unsuccessfully attempts to avert imminent disaster. For some mysterious reason, her performance is given in what appears to be a hypnotic trance.
Perhaps director Katt Shea ("Poison Ivy") could provide some explanation. While the picture clearly has some seriously arty aspirations, the plodding pace makes for mind-numbingly dull viewing. There's more kinetic energy in an episode of "Charmed".
Once again, as with the original, the special effects budget is saved up for the big vengeance finale. And while some of the gross-out elements (with decent digital effects created by Kleiser-Walczak Construction Co. and special makeup effects by Thomas R. Burman & Bari Dreiband-Burman) finally deliver, it ultimately commits the cardinal sin of supernatural thrillers: This "Carrie"'s not scary.
THE RAGE: CARRIE 2
MGM
United Artists Pictures presents
A Red Bank Films production
Director: Katt Shea
Screenwriter: Rafael Moreu
Producer: Paul Monash
Executive producer: Patrick Palmer
Director of photography: Donald M. Morgan
Production designer: Peter Jamison
Editor: Richard Nord
Costume designer: Theoni V. Aldredge
Music: Danny B. Harvey
Casting: Gretchen Rennell Court
Color/stereo
Cast:
Rachel: Emily Bergl
Jessie: Jason London
Sue Snell: Amy Irving
Mark: Dylan Bruno
Barbara: J. Smith-Cameron
Brad: Justin Urich
Running time -- 104 minutes
MPAA Rating: R...
- 3/12/1999
- The Hollywood Reporter - Movie News
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