Carrie may have taken her telekinetic wrath from the 1970s to modern day, but beyond that, Kimberly Peirce’s Carrie falls right in line with the Brian De Palma original. However, even though the films hit all the same beats, share character names, and even some dialogue, the 2013 version isn’t a total copy and paste job. The structure stays the same, but by using a little modernization, additional character details and new scenes here and there, Peirce essentially recreates the same experience while trying to make it her own (read our Carrie remake review).
Whether or not that remake technique works for you, if you’re a fan of the original, it certainly makes pinpointing those differences an entertaining game. Check out all the changes we caught in the new Carrie and let us know which ones you spotted, too.
It goes without saying that the following post contains SPOILERS for Carrie and the 2013 Carrie remake.
Click here to read more.
Joseph Gordon-Levitt’s highly stylized and well-executed directorial choices make “Don Jon” a raunchy romp, but then he throws in just enough of that good old JGL charm to give it some heart.
Alexander Skarsgård may tower over his tiny “What Maisie Knew” co-star, Onata Aprile, but that didn’t keep the pair from striking an instant connection, something that resulted in an incredible on screen chemistry and also left both with a particularly strong friendship when filming was done.
With a resume consisting of over 70 titles with shows and films covering a wide array of subject matter, at this point, you’d think Julianne Moore would be experienced and comfortable with everything. However, in the case of her upcoming release, “What Maisie Knew,” not only did Moore adopt the challenge of delivering a particularly intense performance in the company of a six-year-old, but then she also had to appear to be a professional rock star, too.
Ready for a year of straight slasher flicks, horror anthologies, paranormal entities, home invasions, and more? 2013 is due to cover just about every corner of the horror genre – including remakes, adaptations, and even a few original ideas, too.
Wouldn’t it have been cool if someone doused Chloe Moretz in pig’s blood, and out of rage she sent objects flying throughout the room and the IGN Theater erupted in pure chaos? Sadly there’s no firsthand account of Carrie’s rage to report from New York Comic-Con, but Moretz, Julianne Moore, producer Kevin Misher and director Kimberly Peirce did offer up a sense of what we can expect from the highly anticipated remake.
Sure, director Paul Weitz is responsible for some excellent films like About a Boy and In Good Company, but with Little Fockers so fresh in my mind, it’s tough to remember what he’s really capable of. However, with Being Flynn, not only does Weitz go back to a more modest method of filmmaking, but he delivers a piece that’s incredibly grounded – almost troublingly so.
Unpretentious family dramas are hard to come by. Even with good intentions, a film depicting the cause and effect of choices made at home can often come across as preachy, condescending and sometimes, just flat out wrong. The Kids Are All Right is just the opposite of that. It begins with those good intentions and flawlessly makes due on them through incredibly natural performances that bring a genuinely sincere story to life.
Committing to a role like Chloe is no easy decision, particularly for an actress who is well known for being part of comical and family-friendly films. In
It’s fun to see robots blowing each other up, get a cheap scare from a horror movie or a good laugh out of a comedy, but no sensation can compare to that of a dissonant drama with the power to feel real. Julianne Moore and Amanda Seyfried provide Erin Cressida Wilson’s script with an intense breath of authenticity guaranteeing you feel the pain inflicted upon their characters by the plot’s extreme circumstances. Making Chloe even more potent, those conditions are especially unnerving.