Featured Audience Ratings

• Directors C

  
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• Matthew Samuel M

  
  Despite feeling dated, Carrie is still a dark, chilling, and well-acted thriller that deftly combines teenage drama with religious fanaticism and fantasy. A memorable, iconic, classic film.

• Mark H

  
  Carrie is a classic that makes any legitimate list of the best horror films ever made. It's a regular staple of Halloween viewing. While there are definitely sinister elements, what surprises is how introspective our tale really is. As a chronicle of a girl's maturation,… More
  Carrie is a classic that makes any legitimate list of the best horror films ever made. It's a regular staple of Halloween viewing. While there are definitely sinister elements, what surprises is how introspective our tale really is. As a chronicle of a girl's maturation, it's surprisingly effective thanks to Sissy Spacek's moving depiction of the bullied teen. Director Brian De Palma dresses up a seemingly simple account with cinematic style. Pino Donaggio's symphonic score is atmospheric and highly evocative. A frequent collaborator, the Italian composer is to Brian De Palma what Bernard Herrmann is to Alfred Hitchcock, even recalling that American legend in his work. Deep focus and split screen are used to strengthen the visual impact. Twice, slow motion is employed to draw a scene out. The gimmick might annoy some, but I found it to be remarkably potent in highlighting tension, especially in the horrific climax. I'll admit the "everything goes BOOM" is a horror cliché, but it still is endlessly entertaining. fastfilmreviews.wordpress.com

• Mike S

  
  Stephen King's <i>Carrie</i> is a bloody and incredibly mesmerizing tale of a socially outcast girl, who is mercilessly victimized by other students at her high school. She is timid, keeps to herself and has strict, religious mother who makes her home life no less of… More
  Stephen King's <i>Carrie</i> is a bloody and incredibly mesmerizing tale of a socially outcast girl, who is mercilessly victimized by other students at her high school. She is timid, keeps to herself and has strict, religious mother who makes her home life no less of a hell. Driven to her breaking point, she makes the sudden discovery that she is gifted (or cursed, if you will) with the power of telekinesis; allowing her to move and manipulate objects through the will of her mind. An ability that, when driven over her edge, becomes a weapon of such magnitude, that death and destruction is soon to follow in her wake. Brilliantly adapted to screen by Brian De Palma, it's a harrowing account of a regrettably common ritual within the tear-stained walls of high school. Anyone who has ever been a bully victim, will relate to Carrie's anguish and more than likely be forced to re-live those past nightmares. This true-ringing recognition factor, which makes itself known through a palpable knot in the stomach, is probably also one of the chief fortes, to which the film owes its universal success. Naturally, the ongoing supernatural elements help to boost things further, but unlike the CGI-laden frighteners of today, has them intuitively placed in the secondary slot. Instead, De Palma has made the masterful move of centralizing the characters and their respective developments. Sissy Spacek may not be the most attractive girl on the block, but she is perfectly cast in the title role, bringing just the right vulnerability to convince us that she's for real. Other notable performances comes from a pre-fame John Travolta, as bad boy Billy Nolan, the not-too-bright boyfriend of the malicious Chris Hargensen (Nancy Allen), who plays the school's most popular girl and Carrie's main tormenter. Last but certainly not least, there's also the fantastic Betty Buckley, as Carrie's sympathizing gym teacher and sadly, only friend. Graphic, upsetting and very raw in its visual language, it's a no-holds-barred type of horror movie that presents itself very boldly and without compromise. It's extreme, yet never overdone, in that terrific De Palma way, which later would make its distinguishable stamp in hyper-violent classics like <i>Scarface</i> and <i>Carlito's Way</i>. Macabre as it may be though, there's great beauty to the film alike; derived from a spellbinding combination of Pino Donaggio's divine music score and the phenomenal cinematography by Mario Tosi. As one of the trail-blazers in the splatter genre, it's also a film that paved the way for a more twisted flair of horror, where anything goes and pleasingly little is censored. Personally, I'm very much in favor of that particular approach, but whatever your preference, I dare guarantee that it's a movie you won't soon forget. Nor - and I say this with great emphasis - will you ever look at another high school prom in the same way again. For this is the eerie vision of a director who knows the essence of blood like the De Palma of his hand. Truly a must-see for the bonafide horror enthusiast!

• Eric A

  
  Yes categorized as "horror", but there really isn't much of any horror at all; it's a suspense/thriller at best. Aside from that, it definitely is a classic film that will get you sucked into the awesome story from the opening seconds. I really liked the acting in… More
  Yes categorized as "horror", but there really isn't much of any horror at all; it's a suspense/thriller at best. Aside from that, it definitely is a classic film that will get you sucked into the awesome story from the opening seconds. I really liked the acting in scenes with Carrie and her mother........literally "crazy" good.

• Jeff "

  
  Carrie is a superb Horror film. Simply put. The book is what began Stephen King's career as a modern Horror maestro. Carrie follows the story of a young teenager named Carrie White who is disliked by her classmates and is constantly bullied. Brian Depalma stays faithful to the… More
  Carrie is a superb Horror film. Simply put. The book is what began Stephen King's career as a modern Horror maestro. Carrie follows the story of a young teenager named Carrie White who is disliked by her classmates and is constantly bullied. Brian Depalma stays faithful to the novel amazingly well and Sissy Spacek brings Carrie to life. The real horror begins when the kids at her school go a little too far, and they fully understand quickly that they made a big mistake. Carrie has telekinetic powers and takes revenge on her school. This is a fine Horror film that features great performances by PJ Soles (Halloween) Nancy Allen (RoboCop) and John Travolta (Saturday Night Fever, Pulp Fiction) Give Carrie a viewing, and be prepared for a great Horror film. A flawless film that is pure horror, Carrie is a classic that will delight fans new and old. This is one of the finest of Stephen King adaptations Carrie is a fine supernatural horror flick that remains after all these years a classic of the genre. If you're looking for a great King adaptation, this film is it. Brilliantly acted and directed, Carrie is a horrifying treat that will appeal to fans of horror, and is a film that I would recommend to newer horror fans Unlike more intense horror films, Carrie is a film that has effective scares, but is not as intense as so many other horror flicks. This the perfect entry level horror film a\s it has an effective plot with good scares, but it doesn't overdo anything which makes it a worthwhile film.

• Sophie B

  
  A decent film with a brilliant performance from Spacek but not my kind of film.

• Dan S

  
  A disturbing if flawed and too melodramatic story of a bullied girl (Sissy Spacek) who unleashes Hell at her school's prom once her classmates go too far. Without Spacek's tender, heartwarming, and memorable turn, this movie might not have been completely worth it. However,… More
  A disturbing if flawed and too melodramatic story of a bullied girl (Sissy Spacek) who unleashes Hell at her school's prom once her classmates go too far. Without Spacek's tender, heartwarming, and memorable turn, this movie might not have been completely worth it. However, due to her understated, brilliant work here, in addition to one of the most iconic horror movie scenes ever, this film does remain intriguing. Director Brian de Palma has often been criticized for his work over the years, and fairly so, given he has some ambitious ideas but he never remains focused on one theme and running with it. "Carrie" is a lot of half-baked things thrown together, a high school drama, a character study, a damning of over-doing one's religion, a relationship forming (between Carrie and Tommy), and some balls-out horror. To put it simply, it just never comes together fully, despite some really, really great scenes (the prom scene is just so well done), and as said, Spacek really creates such a tragic, though likable figure, as Carrie's meekness is paired up excellently with her demonic "gift". Although it starts out badly (and creepily, de Palma's camera work in the opening shower scene feels dirty), it picks up some steam despite a few set-backs in between. The prom scene brings the goods, but the movie just does not know how to end correctly. So all in all, a frustrating film, it had the potential to be great, but it's mostly just "okay".

• Matheus C

  
  Ah, the happy, cheerful and highly formative teenage school days. Carrie White, you'll always be my #1 gal.

• Melvin W

  
  Carrie White: It has nothing to do with Satan, Mama. It's me. Me. If I concentrate hard enough, I can move things.  "Take Carrie to the prom. I dare you." Carrie is widely considered one of the best of the Stephen King adaptions. The movie is brilliantly directed by… More
  Carrie White: It has nothing to do with Satan, Mama. It's me. Me. If I concentrate hard enough, I can move things.  "Take Carrie to the prom. I dare you." Carrie is widely considered one of the best of the Stephen King adaptions. The movie is brilliantly directed by Brian DePalma and acted by Sissy Spacek. The movie works its way slowly to wild ending, building its tension as it goes. We know something is going to happen on prom night, but we don't know what. The film is definitely creepy, but today it really isn't scary. There is no doubt that when it came out, that the Prom scene didn't scare though.  Carrie is an outcast in her school. She is ridiculed by her peers and spends all of her time trying to hide from everyone. At home it isn't much better for her. She has a Jesus crazy mother who locks her in the closet to pray and believes everything Carrie does is a sin. Carrie is asked to the Prom by the most popular kid in school because his girlfriend wants him to. She feels bad about an incident where Carrie was tormented in the locker room. Another popular girl has plans to ruin Carrie's Prom night though. Everything about Carrie screams classic horror. It has everything that makes a horror movie a classic. It has an amazing performance by its lead actress. A stunning score that sets the mood for the film. A story that works on more than one level; as a horror film and as a study of human anger. And a director that pulls no punches and makes a movie with extremely high tension and suspense.  Carrie is probably my third favorite Stephen King adaption behind only The Shining and The Shawshank Redemption. The movie works so well because it has a director that knows exactly what he's doing. He builds the story slowly; revealing Carrie's power, showing her home life and showing how the other kids treat her. Like the movie builds in tension, Carrie is slowly building her anger up to an extreme level, until one prank goes over the line and she unleashes her wrath. The Prom scene is brilliantly done. Not just the final part of it but the whole thing. How her date teaches her dance, her gym teacher tells her she's pretty and she sees her name on the ballot for Prom King and Queen. It finally looks to Carrie, like she is being accepted; but she doesn't see what is going on behind the curtains.  Carrie is a staple of the horror genre and always will be. Its bizarre nature just doesn't lose its hold on you after multiple viewings. 

• Alexander D

  
  Films have been depicting how much senior prom is a rite of passage for teens nearly since film itself came to be. Of all directors and films, though, Brian DePalma does the most fantastic job with CARRIE at showing <i>his</i> angle of what is clearly more than just a… More
  Films have been depicting how much senior prom is a rite of passage for teens nearly since film itself came to be. Of all directors and films, though, Brian DePalma does the most fantastic job with CARRIE at showing <i>his</i> angle of what is clearly more than just a dance. (Especially when someone invites Carrie as a date.) The story begins when Carrie White, in her mother's words, "becomes a woman" in the locker room. Not only are her peers prone to harassing her more, but Carrie has now also become the subject of embarrassment and extreme humiliation. And on top of that, her extremely religious (and arguably abusive) mother has found this the time to start nagging her about how she has the Devil in her and that she has sinned greatly. The girls in Carrie's gym class are punished with five days detention (jeez, I don't think I would ever be able to stand that!), but they don't care. They set Carrie up with a date to the prom, and they have a nasty, bloody prank planned. Little do they know what will happen as a result of their bizarre prank. This was the first case in which I watched a film based on a Stephen King novel, and not having read the source material ahead of time (excluding 1408, but that was based on a short story); therefore, I cannot quite say how faithful or how good this was in comparison to the original writing (which was, for the record, King's debut novel). What I can say is that this was quite successful for a starter (as it was the first Stephen King book put on screen), and as a film in general, it was mind-blowing. Even with a budget of only $1.8 million, CARRIE has some of the most inventive methods for creating supernatural chills and suspenseful terror. The music is ridiculous, eerie, but not overwhelming. The one infamous prom scene is preceded by minutes on end of build-up on the tension DePalma is creating; and when it finally comes, the director uses creative techniques such as the split screen to allow us to see the most important, most terrifying things going on. It could have certainly been much, much more scary, but think of when it had first been released: the audience <i>barely</i>, if at all, knew what to expect. That said, CARRIE is a must-see for all horror movie fans, and a superb piece of entertainment for all fans of Stephen King adaptations. It has great directing from Brian DePalma; as well as solid performances from Sissy Spacek, Amy Irving, and John Travolta (no GREASE here, though); and was an original horror classic. (And still is.)

• Jim C

  
  carrie is an insane horror films and I loved it.

• Jim H

  
  An exile from teenage wasteland, Carrie White goes to senior prom only to be victim to a cruel practical joke. I think the most interesting aspect of Brian DePalma's adaption of Stephen King's first novel is the middle act. The film begins with a creepy air as the camera… More
  An exile from teenage wasteland, Carrie White goes to senior prom only to be victim to a cruel practical joke. I think the most interesting aspect of Brian DePalma's adaption of Stephen King's first novel is the middle act. The film begins with a creepy air as the camera pans down a girls locker room, and it's either an exploitation film or a high school boy's fantasy. But the music implies that this is the most pastoral of scenes. Then, when Carrie's first period surprises her, there is a scene of horrendous violence. Following this is the middle of the film, which is just as pastoral and idyllic as possible. It's a teenage girl's dreams come true (or at least what films like to make us believe are a teenage girl's dreams): the most popular boy asks her to prom, she rebels against her mother, and a teacher takes care of her. I think the film is made possible and effective by the sweetness of the middle. Without this section, we have no reason to hope for Carrie, and the final scenes of violence would be cheap and superfluous. Sissy Spacek is great at playing unassuming characters, and there is no one more unassuming than Carrie White; I think this is why Stephen King wrote that he never liked her. Good supporting work is also provided by Amy Irving and William Katt's hair. Piper Laurie rocks as Carrie's zealot of a mom; I wonder if she was ever considered for the lead in <i>Misery</i>. I think DePalma's characteristic style, his rapidly spinning camera and use of a glaring orchestral soundtrack, become over-bearing. I also thought he muddled the religious symbolism. Is Margaret really a Christ figure? Overall, <i>Carrie</i> is a horror classic for good reason, and the story construction should be seen as a "how-to" guide.

• Lady D

  
  Not the Classic Horror film I was expecting to see and certainly not one I would have associated with Stephen King. I have now watched it for the sake of watching it, but it's not the greatest Horror or the greatest Stephen King adaption.

• Daniel M

  
  Like Jaws a year before it, Carrie is one of the great happy accidents in horror cinema. Stephen King almost threw away his debut novel out of artistic frustration, and was only paid $2,500 for the film rights. The production was underfunded by United Artists and its director, Brian… More
  Like Jaws a year before it, Carrie is one of the great happy accidents in horror cinema. Stephen King almost threw away his debut novel out of artistic frustration, and was only paid $2,500 for the film rights. The production was underfunded by United Artists and its director, Brian De Palma, lacked commercial viability, having had only a modest hit with Obsession. But out of this potential disappointment came an engrossing and terrifying film, one of the best Stephen King adaptations and perhaps the high point of De Palma's career. Like a lot of Stephen King adaptations, there was a relatively small gap between Carrie being published as a novel and the film version being released. The only contemporary production with a shorter turnaround was Christine¸ which went from a novel in April 1983 to being filmed by John Carpenter that same summer and being released in December. Hence it is difficult to judge how much of the film's success lies in De Palma's direction and how much of it lies in the source material. De Palma's biggest contribution, from a narrative point of view, is to take such a relatively simple premise - a high-school girl with telekinetic powers - and explore it over 90 minutes with precious little in the way of padding. Because Carrie was originally intended as a short story, it has an inbuilt modesty which is absent from It or The Shining. But what it lacks in epic storytelling it, more than makes up for in its thematic depth and the intense believability of its characters. Carrie at its most basic is about the horrors of high school: the bullying, the peer pressure, the feeling of being an outcast and, in an exaggerated way, having to live up to the expectations of one's parents. Its influence can clearly be seen in everything from Michael Lehmann's cult classic Heathers to more mainstream efforts like Mean Girls. The opening sequence in the showers sets up the majority of the girls as school as utterly repulsive. Their rapid-fire, everybody-talks-at-once dialogue is obnoxious for all the right reasons, and their posing, pulchritudinous bodies are in stark contrast to Carrie, who is so gaunt and wiry that you might mistake her for Gollum. Within this context, Carrie's telekinesis represents her burgeoning adolescent rage. It begins as something over which she has very little control, but over the course of the film she learns to focus it and use it sparingly. The film uses telekinesis in the same way that Let The Right One In uses vampirism, as a means of expressing a deep emotional reaction to the world by placing it outside of oneself. But as with the final scenes in Let The Right One In, Carrie's abilities are not entirely within her grasp, and at the prom there is still a question of whether she is controlling her powers or the other way around. Carrie is also about the suffocating influence of religion, and in particular its role in the repression and persecution of women. Carrie's mother is a Christian fundamentalist who believes that menstrual bleeding is an indication of sin. When punishing Carrie she continually recites the phrase "Eve was weak" and forces her daughter to repeat it, to confess to a crime that she has committed simply by being born a woman. The mother, played with abandon by Piper Laurie, is essentially a sadomasochistic character. She derives pleasure in the form of spiritual vindication from both inflicting pain on Carrie and by condemning herself. By believing that all women are cursed and sinful, she is submitting herself and her daughter to a greater will, allowing herself to be punished both alongside her daughter and on her behalf. The deep bond between mother and daughter is paralleled by the bond between sex and spirituality. The mother's gasps as she dies are borderline orgasmic, and she dies in the same pose as the icon of Christ in Carrie's closet. The Biblical connotations of Carrie are not confined to the position of women. Carrie's bleeding is interpreted as not just punishment for her own sins, but for the sins of her mother and father. Towards the end of the film, it is revealed that Margaret White slept with Carrie's father outside of wedlock, the implication being that Carrie is illegitimate. The father left the family, perhaps because of the pregnancy, perhaps because he was intimated by Margaret's personality or her faith. For whatever reason, the mother's guilt for that sin is laid upon Carrie; she implicates her daughter because she cannot face and atone for her own sin. In this sense Carrie is immediately comparable to A Nightmare on Elm Street, which dealt with the theme of the sins of the father in a more surrealistic way. But there are also strong connections with Suspiria, Dario Argento's giallo masterpiece which was in pre-production when Carrie was released. Both films are very stylish and striking in their manipulation of colour. Mario Tosi's cinematography contains the same shimmering blues and Technicolor reds that Argento's work features in abundance. But more than that, both Carrie and Suspiria have huge elements of fairy tales about them. Where Suspiria is modelled on Snow White and the Seven Dwarfs, Carrie is a reworking of Cinderella with the final act subverted. Instead of a handsome prince coming to save the day and everything working out fine, Carrie descends into hell, embracing her extraordinary powers and losing all feelings for anyone else. In this context Carrie's classmates are the ugly sisters (with the handsome prince being in on the act) and Margaret is the wicked stepmother, a further indication that Carrie is illegitimate. The film simply wouldn't work without the performance of Sissy Spacek, who is nothing short of phenomenal. Having first come to prominence in Badlands, Spacek was originally cast to play Christine Hargensen, the role which eventually went to Nancy Allen. Determined to change De Palma's mind, she smeared Vaseline into her hair and turned up to the final audition in a dress she wore in seventh grade. She brings a heart-breaking fragility to the role, making us feel so strongly for her character that we almost find ourselves cheering in the midst of her carnage. The image of the blood-stained Carrie walking home, or climbing the stairs into the attic, is simultaneously touching and terrifying. The only thing which prevents Carrie from being a full-blooded masterpiece is some of De Palma's visual trickery. Many of his decisions work well, adding to the tone and substance of the film. When Carrie and Tommy are dancing, the camera is at a Dutch angle and twirls around at a faster pace than the couple. This and the final dream sequence, which was filmed in reverse, successfully reinforce the magical, fairy tale quality of the story. And the use of slow-motion up to and include the pig blood falling do add a real sense of tension. But once the pig blood hits the fan, De Palma gets carried away and his visual decisions undercut the climactic scene. Using split-screen undermines the sense of unbridled panic we are meant to have: by asking us to focus on two different things at once, we both lose a sense of scale and find it hard to focus on the often-poetic justice being meted out to. The Metropolis-style kaleidoscope view of people laughing doesn't contribute all that much, and the looping of her mother's voice ("they're all gonna laugh at you!") makes the whole thing feel like the final groove of Sgt. Pepper. Despite its slightly botched ending and some overly conventional jumps, Carrie is a damn fine film which still has the power to unnerve after 35 years. Spacek's extraordinary performance is supported by some fine work from Nancy Allen and Piper Laurie, along with a brief appearance from John Travolta on the cusp of superstardom. Where De Palma's later works would be memorably shocking, this is shockingly memorable, and remains one of the high points of his often distinguished career.

• Zach B

  
  With every person on earth, it is nothing short of a complete truth that the next thing to parenting that is a complete hell would have to be High School. I mean, who does not despise those years? Everyone judges you, you have to be part of a clique, and everyone tries to take you… More
  With every person on earth, it is nothing short of a complete truth that the next thing to parenting that is a complete hell would have to be High School. I mean, who does not despise those years? Everyone judges you, you have to be part of a clique, and everyone tries to take you down and humiliate you. And being a complete Religious fanatic just makes matters worse. Brain DePalma's CARRIE takes the tale of High School cruelty from Stephen King's novel and turns it into every popular teen's greatest fear and every unpopular, socially unaccepted kid's greatest dream. Okay, in terms of direction, DePalma shows wonderful talent. His idea of creating some scenes (like the famous prom scene) in his dream-like state is pure genius. Even him creating some methods that would later be used in other films is nothing short of fantastic. He keeps the story fast paced and to the point. The script from the film does something that few films do: stay true to the source material. With most films, you have to read the book afterwards to completely understand the characters and the entire situation. Here it is not the case. While making some subtle changes for cinematic purposes, it stays true and terrifying. Acting is were I am not the most happy about. While the acting of Piper Laurie is well done, the rest of the cast goes from good to mediocre. I might be a tad bit easy on John Travolta seeing as how this is his first film, but the others should have been better in my opinion. The only other actor/actress worth mentioning is Sissy Spacek as she plays this tormented girl who decides that enough is enough. Finally we have the score. For the most part, the score was well done. But there are a few scenes that could have been so much better. For the parts that were great, I am impressed. Like in A CLOCKWORK ORANGE, the score almost becomes something of a character in the last twenty minutes of the film. Overall, this is a great teen horror film that I would not recommend to anyone to watch before Prom night.

• Mister C

  
  As the tagline read "If you got a taste for terror...take Carrie to the prom." That one girl's name helped launch Stephen King onto the best seller list and director Brian DePalma into the mainstream and launch an unknown actress by the name of Sissy Spacek into… More
  As the tagline read "If you got a taste for terror...take Carrie to the prom." That one girl's name helped launch Stephen King onto the best seller list and director Brian DePalma into the mainstream and launch an unknown actress by the name of Sissy Spacek into international stardom. Spacek's remarkably sweet yet creepy depiction of an outcast who can move things with her mind when she's upset-and the incrowd who decides to make her very,very, upset on prom night-has become an horror touchstone that's often parodied and quoted. Released in 1976,and produced by Paul Monash, "Carrie" when on to become one of the highest grossing films of that year,second to "The Omen","The Outlaw Josey Wales","Rocky",and "Network". Check out John Travolta(in his youthful days)as the mean spirited jock's boyfriend,and Amy Irving and Nancy Allen as one of the two mean-spirited girls who give "Carrie" hell on earth,but she gets them back with sweet revenge. Check out Piper Laurie's classic portrayal of Carrie's psycho-religious mother(the classic two words: "dirty pillows") "Carrie" was Sissy Spacek's first Oscar nomination as an actress which in fact went on to bigger and better things in her career. Piper Laurie was also Oscar nominated for her performance as the religious nutcase mom. Avoid the two sequels. Stick with the original.

• xGary X

  
  An awkward and unpopular high school girl reaches sexual maturity and discovers she has the power of telekenesis. Almost inevitably, Brian DePalma's tale of supernatural vengeance is based upon a Stephen King story and right from the opening scene full of full frontal nudity in a… More
  An awkward and unpopular high school girl reaches sexual maturity and discovers she has the power of telekenesis. Almost inevitably, Brian DePalma's tale of supernatural vengeance is based upon a Stephen King story and right from the opening scene full of full frontal nudity in a girl's locker room that is so gratuitous it crosses the line into outright seediness, it displays his usual level of subtlety and sophistication. Nil. In fact DePalma's clod hopping direction almost wrecks the film, with its painfully heavy handed religious and sexual imagery and some pretty unforgivable audio-visual bullshit during the finale. What makes the film are the powerful central performances from Sissy Spacek as the young girl who only wants acceptance, instead finding cruelty wherever she turns and Piper Laurie as her scripture spouting sociopath of a mother. There's also some pretty striking imagery as a blood soaked Sissy wreaks her revenge upon her peers and it's this pay off that the film is all about. It's a shame DePalma was at the helm because in the hands of someone like Kubrick or Cronenberg, Carrie could've been pretty special. As it is, it's a decent Twilight Zone inspired splatterfest that's a lot better than many of the slasher flicks it shares many plot devices with. And kudos for the line "I can see you dirty pillows!".

• Chris W

  
  Another bright spot on the resume of Mister De Palma. Like the old saying goes, it's deviates from the source material, but, if memory serves me right, it remains mostly faithful, or faithful enough as a film adaptation reasonably should and still be watchable that is. The… More
  Another bright spot on the resume of Mister De Palma. Like the old saying goes, it's deviates from the source material, but, if memory serves me right, it remains mostly faithful, or faithful enough as a film adaptation reasonably should and still be watchable that is. The acting is top-notch, the look is great, the film is generally relatable (even if it may be too painful or hit to close to home for some), but that's part of why it works. Everyone basically knows what it's like to be different and get ragged on because of it, and I'm sure I'm not wrong to assume that we've all wished we could get some type of revenge on our tormentors. Besides masterfully depicting the horrors of human cruelty during the painful formative years of high school, this movie is actually quite suspenseful and scary...like really. Many imitators tried to duplicate it's success, but few if any have managed to do it justice. This movie is tense, unrelenting, and the final shot is just awesome, even if it might seem less surprising in this day and age. The camera work, direction, and technique are great, It amazes me how De Palma is able to get some of these more difficult and complex shots to work, but he does. Some have said that some of his movies would be far better if he spent as just much time and care on the story that he does with the execution of things. While that doesn't apply to this film necessarily, I can see what they mean. After all, what good do technical wizardry and artistic flair get you if the story sucks or should be the focus? Again, this is another one of those movies that gets written about a lot, so I don't think I'm really contributing anything very fresh, but I nonetheless highly recommend this landmark film.

• Tim S

  
  One of the most effective horror films without really being a horror film - much like a lot of Stephen King's work. It's all about characters and tragedy rather than horror and it's difficult to not get caught up in it. A masterpiece from the great Brian De Palma.

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