Metro-Goldwyn-Mayer Pictures/Screen Gems
We can divide the incoming audience of Kimberly Peirce's Carrie remake into three categories. First, dutiful fans of the original — just about any modern day cinephile, or regular human being who was at least a teenager in the mid-1970s. A collective who might be expecting, based on a passage of four decades and an insightful director like Peirce, something altogether different than Brian De Palma's horror classic. As much as we might have loved the old version, we're not heading to theaters to see it reproduced with Chloë Grace Moretz standing in for Sissy Spacek.
Second, we have the group who never got around to De Palma's Carrie, or at least who do not remember it with any particular fondness, but who hold Stephen King's novel in high regard. A group who might expect the epistolary form of the narrative to translate to screen in some inventive way, telling Carrie White's story the way that King did back in his early days.
Finally, the youngest of the lot: those who never saw, never read, maybe even never heard of Carrie, but who are flocking to theaters out of love for the young Moretz and in hopes of a good scare. These are likely to be the participants most satisfied — although it is the goal to approach every new feature film as a work independent from all predecessors and source material, anyone who has seen the '76 Carrie will have a hard time eviscerating the connotations from his or her head while watching the new venture.
Just shy of a shot-for-shot remake, Peirce's Carrie doesn't come through on many of the progressive tones or innovations than might arise from connotations with the film's director. When the film does deviate, those in the know will wonder why — why the transformation of the Billy Nolan character (played here by Alex Russell, previously by Jon Travolta) from lowly dufus into a criminal mastermind? Why the changes in Carrie's understanding of her classmates' ultimate misdeed (we won't say more, just in case you're in Category 3), or in her scenes at home to follow? To those who can't seem to get De Palma off the mind, it'll be difficult to justify these very few changes... especially in light of the overwhelming presence of his shadow cast by the new movie's decision to operate in such conjunction with everything we saw in the '76 version (even including the comic relief "gettin' ready for prom" scene).
But even those without a Carrie on their shoulders will feel that this film lacks the gravity it intends. The glossy feel of this Hollywood high school robs Carrie White of her desperation, her classmates of their cruelty, and the climax of its authentic severity. The only place where Carrie does knock its powerful material out of the park is with Julianne Moore, whose Margaret White is so impressively chilling, so embedded in darkness and fear that she's genuinely difficult to watch. But in the otherwise "campy" world of this Carrie, Margaret and the third act darkness just feels dreadfully unpleasant, and to no identifiable end.
What is Carrie saying and doing with all this horror? Unhooking itself from the clasps of dramatic weight, genre fun, and cinematic tribute, the film floats freely without much of an identity. Although the material is enough to get you through the movie, and the performances decent enough to at least see where a new life might have been breathed into a more inventive script, you won't leave Carrie without much in the way of answers. Just one big question: "Why did they bother?"
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Be sure to taper off your comic book consumption around May 4, or you'll risk having a dangerous overload of superhero excitement. As if seeing the leads from multiple summer blockbusters in one film isn't exciting enough, the final trailer for The Dark Knight Rises will run before The Avengers.
A Warner Bros. executive confirmed the third trailer's release date with Deadline, and said the epic DC/Marvel rivalry isn't a concern. “We see this placement as a good strategic decision," said the executive. "We always want our trailers to be seen with films that people want to see — and a lot of people will be going to The Avengers!” While the two franchises are likely to battle for box office records this summer, this actually isn't the first time they've been paired together. The trailer for The Dark Knight ran before Iron Man in 2008.
We've already seen a teaser and a full-length trailer for The Dark Knight Rises, and though there was plenty of revealing footage, there are still major questions surrounding the film (aside from "What the heck is Bane saying?"). Hopefully, the final trailer will shed some more light on the two female leads, Anne Hathaway and Marion Cotillard. While we've seen photos of Hathaway in her Catwoman getup, we've yet to see the costume in action. Plus, we don't even know who Cotillard is. Supposedly she plays Wayne Enterprises board member Miranda Tate, but fans of the comic books insist that's just a cover for her real role, Talia al Ghul, daughter of Liam Neeson's character Ra's al Ghul. We doubt Christopher Nolan would actually put such a big reveal in the trailer, but a few hints to keep us going until July 20 would be much appreciated.
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Like Madagascar the story starts at the New York Zoo. Samson (Kiefer Sutherland) the lion is once again the star of the show but unlike Madagascar’s Alex Samson claims he came from the wild. He regales the other odd assortment of zoo denizens--including a talkative giraffe (Janeane Garofalo) a lisping anaconda (Richard Kind) a snarky Koala (Eddie Izzard) and a take-charge squirrel (Jim Belushi)--with tales of danger and excitement abroad. Of course Samson can’t tell the real truth that he was actually born in captivity and is making it all up because everyone including his rebellious teenage son Ryan (Greg Cipes) would think less of him. But when Ryan runs away thinking he can’t live up to his dad’s reputation and is mistakenly shipped off to the wild Samson has keep up the charade as the gang embarks on a dangerous mission to rescue him. The lion does come clean at some point in case you were wondering. Another vocal roster of big names another dollar. This time around we’ve got Sutherland Garofalo Belushi all doing the animal thing. There’s also William Shatner as a villainous wildebeest headed for the loony bin after deciding he’s tired of being the prey and turns predator. He’s even got his herd of wildebeest dancing a Busby Berkeley number around a volcano á la Lion King. Sigh. Luckily there is one saving grace--sort of: Izzard as the wisecracking Koala bear Nigel who gets mistaken for a god by the wildebeest and milks it for all its worth which isn’t a whole lot. Still if anyone has seen the British comedian’s hilarious HBO special Eddie Izzard: Dressed to Kill you can just imagine him strutting around as a Koala dressed in women’s clothing and doing his shtick. The Mouse House once again proves it doesn’t have an inventive bone in its body--or even the gumption to realize that had something with potential. Apparently the pitch from writers Mark Gibson and Philip Halprin had been mulling around Disney for about nine years before it got made giving the likes of Nemo and Madagascar a head start (I’d be peeved if I were those writers). But even if The Wild did come first it still wouldn’t be able to measure up mostly because the story is insipid. Wildebeest turning into predators? What’s THAT all about? The CGI-animation is spot on of course but we are definitely taking all of that for granted these days. No now what we want is a good compelling story. If not that then at least we should have a couple of really funny characters--like commando penguins or a fish with short-term memory--to help things move along. The Wild doesn’t have either so while children may be left mildly entertained for an hour and a half parents will be left twiddling their thumbs waiting for it to be over.