Carrie (Chloe Grace Morets) was conceived in a sin, and her devout mother (Julianna Moore) should be not killed big works the baby right after the birth. Nevertheless it left the girl and brought up it in purity and purity – that, certainly, made Carrie the derelict at school. Absolutely into a laughing-stock it is turned by a case in a female locker room when the girl runs into a hysterics at the sight of blood from the first monthly. But Carrie – not the simple girl, she is able to move subjects will power, and eventually her offenders should pay.
Before to a role of mother Carrie invited Julianna Moore, to play it offered Jodie Foster
Stephen King and Brian De Palma’s her first screen version literatures and cinema are considered as "Carrie" as classics respectively, and special attention was initially riveted on its new version. As the postanovshchitsa of Kimberley the Pier, as usual at founders of remakes, promised the updated and expanded view of well-known history. It did not say lies – in "Telekinesis" (according to this name the remake will separate more simply from a picture of 1976) a lot of, thought up (and also that in the book was, but a De Palm tree in due time perfectly ignored), however the majority of innovations tragicly does not work.
Stephen King, having learned that repeatedly picturize his novel, Lindsay Lohan suggested to take for a leading role. It is hard to say, for fun or seriously
Suspicions creep in from the very beginning – the film opens a scene in which Julianna Moore’s heroine gives birth. At home it is alone unceasing praying. It brings scissors over just born baby, but breaks and presses it to itself. The touching scene, however is evident that in one plan we see an umbilical cord, and in other it already is not present, thus, that scissors literally shouted, that them symbolically used in a shot «in the benefit» (not to kill and to cut an umbilical cord). In Carrie’s other scene comes to library and sits down at the computer to "ask" a search engine about telekinesis, but finally does not read about it from the monitor, and gathers to itself books. The scene, in which Sue (Gabriella Wilde) runs in school to warn the guy and Carrie about terrible draw, presently in general loses meaning – unless not simpler to call on cellular or to throw the SMS? That about Sue’s preparing muck learns the benefit just from "sms"!
From outside can seem that it is trifles, but is in "Telekinesis" and one global "abnormality" from which its main problems grow. Kimberley the Pier wants, that we liked Carrie. Thus that in this plan the version of a De Palm tree was absolutely ideal – in Cissy Spacek fragility and vulnerability was felt, it it was a pity, but thus outwardly it was quite imperceptible and even the unpleasant girl. The pier initially goes on other way – it takes for Carrie’s role one of the sexiest young actresses and all film «presses on a tear», in passing refusing everything that can blacken her heroine. So, in Carrie’s final slaughter-house shows selective mercy, and it deprives the ending of its effektnost, Carrie «on the Pier» – not terrible unrestrained elements, smetayushchy all on the way, as a volcano in Pompeii.