TF:
A fair amount of the revision works, from Chrissy recording Carrie’s humiliation in the showers and posting it online, to Moore’s nutjob mom gouging her own legs in penance, to Peirce’s unwillingness to try to match De Palma’s pyrotechnic technique, opting instead for a naturalistic palette and less forceful cuts.
That Peirce also jettisons the overtly ’70s flourishes – split-screen, prism effects, speeded-up footage of Tommy trying on tuxes – is prudent, as is her refusal to subject her teen cast to full-frontal, slo-mo nudity in the opening set-piece.
Other tweaks are less successful: Chris 2.0 being upgraded from petty bully to cold-blooded psycho (making the film far less easy to identify with); and a horribly lame, tame coda. Of course, matching De Palma’s infamous hand-from-the-grave sting was never an option – not least because it was the genre’s original tag-on shock – but this half-hearted jump only draws attention to another pimple on the new Carrie: it’s just not scary.
Christopher Nolan’s Oppenheimer walked into the 96th Academy Awards and blew everyone away, winning seven Oscars on the night. But is it Nolan's best film yet?
Cancel all proposed awards ceremonies and hand over the major gongs to Peter Farrelly's Ricky ;Stanicky.
Late Night with the Devil will be The Exorcist for a new generation.
I agree with everything said in this piece. Well-done!