Bully pulpit - Page 2

Why it doesn't "get better" for Carrie White

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PHOTO BY MICHAEL GIBSON
Another day in paradise: Chloë Grace Moretz in Carrie

Carrie's overkill also stunts its potential as a darkly comedic revenge fantasy à la Heathers (1988), since Carrie, like so many real-life teen shooters, winds up dead herself. Only one of her repentant classmates tries to reach out before the inevitable happens. It's this scene that most stymies both De Palma and Peirce, since King's quiet dénouement is decidedly uncinematic — yet it's a powerful one, an exchange of final words and psychic impressions as Carrie's life ebbs out of her beside the wrecked remains of the roadhouse she was presumably conceived in. Here, at last, is the moment of self-awareness — and yes, regret — that we need in order to recognize Carrie White as another casualty of her own paranormal capabilities. And until someone figures out a way to film it, we'll never quite be able to believe it on the big screen. *

 

TEN SELF-CURATED DOUBLE FEATURES (OR, IN PRAISE OF TWO-DOLLAR WEDNESDAY AT LOST WEEKEND VIDEO)

 

Art world confidential Marina Abramovic: The Artist is Present (2010) and Pina (2011)

Feeling a little peckish Grizzly Man (2005) and Ravenous (1999)

Finding love in all the wrong places Lolita (1962) and The Glamorous Life of Sachiko Hanai (2003)

Traveling blues Schultze Gets the Blues (2003) and Genghis Blues (1999)

Streets of San Francisco The Laughing Policeman (1973) and The Maltese Falcon (1941)

Outsider music The Devil and Daniel Johnston (2005) and American Hardcore (2006)

Entering the zone Stalker (1979) and Sans Soleil (1983)

Morbid fascinations Colma: The Musical (2006) and The Bridge (2006)

Never mind the remakes Let the Right One In (2008) and Oldboy (2003)

My favorite movie mash-up ever Freaks (1932) and Wisconsin Death Trip (1999)

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