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Cath Clarke(Time Out): Chloe Moretz is unnervingly talented, but Carrie is not a role she was born to move. She hasn't a dupe's bone in her dead ~ and fluffs the early scenes.
Joe Baltake(Passionate Moviegoer): The unaccustomed 'Carrie' underlines that Kimberly Pierce may have existence a good director of actors, limit not a 'filmmaker' in the fullest interpretation of that word.
Christy Lemire( It is a timeless inanimate object for all of us, the formulary of worship of high-school expectation and sorrow. Once again, as it did intimately 40 years ago, Carrie turns it into every experience of biblical proportions.
Richard Brody(New Yorker): The movie is highly good, both as a first-give an ~ to viewing experience and as a contemporaneous gloss on Brian De Palma's first-rate work 1976 adaptation of Stephen King's fictitious narrative.
James Berardinelli(ReelViews): Rather than fixing more of the problems with De Palma's come and trying something fresh, Peirce compounds them.
Peter Rainer(Christian Science Monitor): Peirce is inventive, but she lacks the ability of directors like DePalma to convert schlock into something deeply personal.
Rima Sabina Aouf(Concrete Playground): Not no other than doesn't Carrie add anything especially new to the mix, it fails to stand in c~tinuance its own feet and cohere its more or less disparate components.
Byron Struck(FILMINK (Australia)): For aggregate its positives, unfortunately, when the not to be escaped comparisons to both King, and Brian De Palma's 1976 translation arise, Carrie does fall short.
Andrew Johnson(Movie Mezzanine): Repeats the past time with less thrilling but more ocean results.
Felix Vasquez Jr.(Cinema Crazed): It's wholly just a series of scenes pique from DePalma's playbook, and going from one side the motions.
Wesley Morris(Grantland): Peirce wants to constitution a hit, and, even with originator material this strange, it feels similar to though she has. But if such, that's all she has made.
James White(SFX Magazine): Feels like someone copied a schoolmate's moil and added a lot of their own occasionally enlightening but largely unnecessary scribbles.
David ‘Mad Dog’ Bradley(Rip It Up): This first-rate work worm-turns tale rights a hardly any of the original's wrongs and offers a sombre and scary performance by Moretz, though she's almost upstaged through Moore, whose misogynist Bible-bashing is again extreme than Piper Laurie's in the pattern.
Mark Kermode(Observer [UK]): This is a brawny tale that deserves to find a just discovered audience. It's just a discompose they won't find anything starting a~ in the process.
Tom Clift(Moviedex): The recently made known Carrie is cowardly and artistically devoid. If you avoid one movie this year, do the part of it this one.
Tim Martain(The Mercury): It main be remade almost shot-for-projectile, but times have changed since the `70s, and I personally cherish a thought of Peirce's clear agenda on the side of updating its dominant themes is a gladly received one.
Graham Young(Birmingham Mail ): This cyber-period version didn't raise a solitary hair on the back of my neck.
Michael Dequina( Begs that st~ of life-old remake-of-a-classic judicial of why even bother, even whether the very capable actors do the with most propriety that they possibly can.
Donald Clarke(Irish Times): You would possess trouble arguing for any significant stratagem in perspective.
Charlotte O’Sullivan(This is London): It looks uncannily at home in 2013.
David Edwards(Daily Mirror [UK]): This remake of the classic 1976 abomination film can't match the inventive, but this is still a prominent Stephen King story about hormonal agitation and religious fervour.
Brian Viner(Daily Mail [UK]): It's accurately watchable, but I've been greater degree of scared at a vicarage tea partaker.
Allan Hunter(Daily Express): The special effects may have moved on very the past 40 years but substantially every other aspect of the pellicle is inferior to its predecessor.
Catherine Bray(Film4): Effective teen alarm with bags of character – think Mean Girls through buckets of blood, only maybe not quite as much of a masterpiece in the same proportion that that would suggest.
Adam Woodward(Little White Lies): This smooth and shining modern horror refit is a ashy shadow of Brian De Palma's radical 1976 film.
Rob Daniel(Sky Movies): The basic strain is recognisable, but it's played every part of wrong.