| United Artists | Release Date: November 16, 1976 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
18
Mixed:
3
Negative:
0
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Critic Reviews
Brian De Palma's flamboyant directing might seem callous were it not balanced by Sissy Spacek's heart-rending performance as the mousy adolescent who wreaks telekinetic vengeance when she's humiliated by bitchy classmates. [10 Dec 2011, p.39]
One of the most important movies of my life. It’s one of the two films, the other being Robert Altman’s Nashville, that made me want to be a critic. And that’s because Carrie did more than thrill, frighten, and captivate me; it sent a volt charge through my system that rewired my imagination, showing me everything that movies could be.
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Carrie's ultimate triumph is spectacular beyond anything one is used to in this antique genre. Brian De Palma's sure and powerfully individual style, blending romance, darkish satirical humor and suspenseful spookiness, transforms what could have been dreary stuff. From its first shot, Carrie catches the mind, energetically shakes it and refuses to let go even after the end credits have rolled.
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Based on Stephen King’s first published novel, from 1974, and in fact the first cinematic adaptation of that well-read author, Carrie dramatises all manner of first times, as Carrie gets her period, falls in love, and is ultimately penetrated, killing – and maybe dy(e)ing – in deep, deep red.
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Were there Richter scales for measuring the degree of terror induced by movies of this kind, De Palma's "Carrie" would register only 2.2 in terms of actual shock value, but it would score well on the laugh meter. This satiric examination of the American high schooler turns out to be scathingly funny.
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Mr. de Palma has ordered universal overacting. Piper Laurie does it with considerable grace—the wicked witch in a children's pantomime. The marvel, though, is Sissy Spacek. She makes us perfectly aware that she is overacting, and yet she is very effective. Her hysteria is far too hysterical. Her delight in being taken to the prom is far too radiant. But it moves us.
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Brian De Palma demonstrates the drawbacks of a film-school education by overexploiting every cornball trick of style in the book: slow motion, split screen long takes, and soft focus abound, all to no real point...He's an overachiever—which might not make for good movies, but at least he's seldom dull.
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