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Thread: Carrie remake and musical

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    Default Carrie remake and musical

    http://www.hollywoodreporter.com/hea...-carrie-190369

    Stephen King’s Carrie is once again heading to the screen.

    MGM and Screen Gems are partnering up for the new take on the Stephen King book and have hired Spider-Man: Turn off the Dark playwright Roberto Aguirre-Sacasa to pen the new script.

    The book, which was King’s first published work, centered on Carrie, a sheltered and shy high schooler who develops telekinetic powers and unleashes them when pushed too far during her prom.

    The book was famously adapted into a 1976 Brian DePalma movie starring Sissy Spacek, Piper Laurie and John Travolta. There was also a stage musical, a forgettable 1999 sequel (called Carrie 2: The Rage) and a 2002 TV movie.

    MGM and Screen Gems clearly think the time right for a retelling.

    Aguirre-Sacasa is a playwright who also writes comics for Marvel, perhaps notably the company’s meticulous adaptations of King’s epic The Stand. In mid-February, he was brought on board to fix the book of the troubled Spider-Man musical.

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    Breaker Jimimck has a brilliant future Jimimck has a brilliant future Jimimck has a brilliant future Jimimck has a brilliant future Jimimck has a brilliant future Jimimck has a brilliant future Jimimck has a brilliant future Jimimck has a brilliant future Jimimck has a brilliant future Jimimck has a brilliant future Jimimck has a brilliant future Jimimck's Avatar

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    Groan...

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    if the worlds gonna end then let's get it over with, i got shit to do

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    Thirty-five years after Stephen King’s first best-seller roared into theaters and scared a generation of prom-going teens, MGM and Screen Gems have hired playwright Roberto Aguirre-Sacasa to resurrect Carrie with a more faithful adaptation of King’s novel, according to Deadline.

    But King, who famously disapproved of Stanley Kubrick’s adaptation of The Shining, tells EW he still has a soft spot for Brian De Palma’s original film: “I’ve heard rumblings about a Carrie remake, as I have about The Stand and It. Who knows if it will happen? The real question is why, when the original was so good? I mean, not Casablanca, or anything, but a really good horror-suspense film, much better than the book. Piper Laurie really got her teeth into the bad-mom thing. Although Lindsay Lohan as Carrie White… hmmm. It would certainly be fun to cast. I guess I could get behind it if they turned the project over to one of the Davids: Lynch or Cronenberg.”

    Aguirre-Sacasa, who recently rewrote the Spiderman: Turn Off the Dark script, is an accomplished comic-book author familiar with the King oeuvre; he adapted King’s epic The Stand into comic-book form in 2008.

    >>> Entertainment Weekly

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    Quote Originally Posted by Bev Vincent View Post
    The real question is why, when the original was so good?
    That was my thought when seeing the title to this thread. I just watched it again a couple of weeks back and it's a good film. (A little aside, but I did a wiki on Sissy Spacek, and I was quite surprised to find out how old she actually was when she played Carrie. She really fitted the role well.)

    And of course there was a mini-series remake a few years back. (
    Spoiler:
    I understand King preferred that ending to the original one.
    )

    This is interesting though:
    much better than the book.
    I've only read the book once, and it's not my favourite King book, but it's not bad. I'm not sure I'd agree the film's better, but it's been a while since I read it. I did think
    Spoiler:
    the meteorite stuff
    in the book was a bit much.

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    Let's hear it for no original ideas!!

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    Gunslinger Apprentice Slender is on a distinguished road

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    Right – so King wants his worst books to be adapted by legendary directors and his best books to be adapted by middling directors. Makes perfect sense.

    Seriously, I would kill to get one of the aforementioned Davids to direct The Dark Tower instead of Ron Howard.

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    this is exactly why no one gives a fuck about hollywood anymore.

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    Quote Originally Posted by Adumbros View Post
    this is exactly why no one gives a fuck about hollywood anymore.
    Right... 2010 Box Office Wrap: Hollywood Has Second-Best Year Ever:

    [in 2010] (the studios) enjoyed their second-best year at the domestic box office with $10.46 billion, off less than 2 percent from 2009's all-time haul of $10.6 billion."

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    Quote Originally Posted by pablo View Post
    Quote Originally Posted by Adumbros View Post
    this is exactly why no one gives a fuck about hollywood anymore.
    Right... 2010 Box Office Wrap: Hollywood Has Second-Best Year Ever:

    [in 2010] (the studios) enjoyed their second-best year at the domestic box office with $10.46 billion, off less than 2 percent from 2009's all-time haul of $10.6 billion."
    right...and if this were 1981 or even '91 that might matter...except it's 2011, when this panic fit called a recession has cut the value of the american dollar nearly in half, so low in fact that even the canadian dollar holds more international value than ours (and if you doubt the validity of this, note that a 60-year-old movie, Citizen Kane, is considered the most successful film in American history...based on inflation). coupled with the fact that the average ticket price for a new release is nearly ten dollars, and that's without counting the domestic charge in large cities, where even cigarettes cost over fourteen dollars a pack in some locations. along with the easily debatable notion that perhaps 2010 was a fluke year for movies just like 2009 was a fluke year for Derek Jeter, and the following season proved how much his age really truly is affecting his performance. not to mention the even more easily debatable contention that DVD/VHS sales and downloads are far more reflective than ticket sales; after all, EVERYONE wants to see the new amusement park in town, but how many of them will come back? etc etc.

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    http://screenrant.com/megan-fox-carr...-sandy-117097/

    No classic horror title is safe from the remake syndrome nowadays – and Brian De Palma’s well-known 1976 adaptation of the Stephen King novel, Carrie, is the latest cinematic scarefest that is being prepped for a makeover - courtesy of MGM and Screen Gem.

    News regarding active development on a Carrie remake only broke at the end of last week, but already there’s a big name actress reportedly interested in playing the titular teenager: the 25-year-old starlet of the first two Transformers movies, Megan Fox.

    Fox was apparently approached at one point to play Wonder Woman on-screen (in the recently-defunct TV series reboot, perhaps?) but Showbiz Spy claims it has been informed by sources close to the actress that “she wants to move on to more serious roles.” Hence her interest in playing Carrie – and, by implication, why she is not appearing in this summer’s Transformers: Dark of the Moon (be sure to take all of that with a grain of salt).

    The actress played a teenager who seeks vengeance upon those who wronged her (with the use of supernatural powers) once before in the horror-comedy Jennifer’s Body, which failed to impress critics and didn’t exactly rake in cash at the box office. More importantly: Does Fox even remotely resemble the kind of person who’d be mocked by her high school peers and looked down upon as an awkward outcast – like Sissy Spacek did when she played Carrie in De Palma’s film?

    Regardless of whether you think Fox wasn’t allowed a fair chance to demonstrate her acting prowess in the first two Transformers movies – or if you feel she really is just a pretty face and nothing more – it’s near impossible to argue that casting the actress as Carrie makes sense, at least from an artistic standpoint. The argument that Fox would increase the box office potential of Carrie doesn’t hold water either, as illustrated by the failure of Jennifer’s Body – and that was in spite of the film being scripted by Diablo Cody (fresh off her Oscar win for Juno) and boasting (among other things) a scene in which Fox and Amanda Seyfried locked lips.

    It ought to be mentioned that the idea of Fox starring in the new Carrie is strictly RUMOR at this point – and while this casting move certainly isn’t out of the question, it’s far from a sure thing right now. On the other hand: there doesn’t seem to be a whole lot of enthusiasm for another cinematic take on King’s spooky coming-of-age tale as is, so it’s difficult to say whether this rumor will help or hinder the current outlook for the project.

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    I guess they can do a lot with make up and outfit, etc, and the actor's mannerisms in portraying the role count for a lot. Sissy Spacek was far from ugly, herself, after all. That being said I think they've got their work cut out for them with Megan Fox. I'm not judging her acting here, as I haven't seen her in anything other than Transformers, but she's certainly not the physical type I'd imagine.

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    http://www.shocktillyoudrop.com/news...s.php?id=19382
    Stephen King's 1974 novel "Carrie" is the latest in a string of adaptations Hollywood is tackling behind the (somewhat) recently announced "Under the Dome" and "The Dark Tower." Unlike those two projects, however, "Carrie" has already been brought to the screen.

    Brian De Palma's 1976 feature film - Carrie with Sissy Spacek - was the very first to translate King's words to celluloid. Later, in 1999, Katt Shea directed the follow-up The Rage: Carrie 2, a laughable mess that wildly spun off from the events in De Palma's film. Then, a dismal made-for-TV movie re-told the King novel with an inspired cast; Angela Bettis played Carrie White and the always-solid Patricia Clarkson co-starred as her mother (a bit of nerd triva: Battlestar Galactica's Kandyse McClure played Sue Snell).

    Certainly "Carrie" is not the first King novel to get a "do over." There was the Salem's Lot "television event" mini-series with Rob Lowe, same could be said for The Shining. "The Dead Zone" became a popular television series. Firestarter inspired a Sci-Fi Channel sequel and Trucks (a redo of Maximum Overdrive) roared its way onto the small screen in 2000. (Hmm, that's a whole lot of television projects.) "IT," "The Stand" and "Pet Sematary," meanwhile, are in queue to needlessly be re-told as feature films (I still think Fred Gwynne deserved some sort of award for his performance in the latter).

    The studio system is intent on revisiting the King movies that were fube the first time around when there are plenty of dreadful to mediocre adaptations worthy of updating. Here are five that are not already in-the-works...

    • Silver Bullet ("Cycle of the Werewolf"): Nostalgia clouds the mind. I've found fans looking back fondly on director Daniel Attias' adaptation and I still have no idea why. Hokey and miscast - save for Everett McGill - the film, scripted by King, has an awkward pace. Overall, it always screamed of "cheap," which was always a shame to me because the source material, "Cycle of the Werewolf," especially Bernie Wrightson's grisly illustrations that pulsed violence and menace, was what got me fascinated in horror. So, imagine the disappointment I felt when I saw a ludicrous man-in-suit werewolf (designed by Carlo Rimbaldi) chasing around Corey Haim.

    "Cycle of the Werewolf" is a story that could be a relevant scare-fest today. Use Bernie Wrightson's werewolf design as a blueprint. Capture the brutality of those kills, furthermore, the atmospheric passage of seasons. After all, "Cycle of the Werewolf" was born out of an idea to tell a story through a calendar. And set it in the ‘70s or ‘80s. I don't see any reason why the story would need to be contemporary.

    • The Dark Half: No disrespect to George Romero, but I wouldn't mind seeing someone take another crack at this one. Romero does his best to stay faithful to the material, but the results are rather dull and Timothy Hutton as both Thad Beaumont and George Stark (oof) doesn't work.

    Pull in a strong writer to freshen up the mystery and a clever director - perhaps look to Spain or France? - and give this warped Jekyll/Hyde story the adaptation it deserves. Moreover, make sure the leading man feels comfortable in the skins of both Beautmont and Stark.

    • The Tommyknockers: The ABC mini-series in ‘93 was an abysmal mess. The cast was completely wrong across the board and it had John Power - a director whose career is/was founded on television - and let's just say he lacked vision. Lawrence D. Cohen (Carrie, IT) penned the screenplay, but that doesn't help matters because he shied away from trimming away parts of the book that don't work. There's plenty of material to chisel away at and easily shape into a feature film. And because we're getting so many big alien invasion films, it might be refreshing to do one that turns inward. Don’t be so dear to the material and take a unique storytelling approach. Yes, it's a kooky kind of story, but one I always had a soft spot for.

    • Needful Things: Speaking of batshit zany, King's 1991 farewell to Castle Rock was a novel I plowed through in a week. A thick read, but it had a breakneck pace and sent me tumbling through a stream of bad deeds and a cycle of violence that I couldn't pull myself out of. The film? Not so much. While writer W.D. Richter (Big Trouble in Little China) crammed a lot into the story, tonally, I think it missed the mark. More mischievous-cute than mischievous-evil. J.T. Walsh and Max von Sydow were strokes of genius casting, but director Fraser Heston (son of Charlton) couldn't pull good performances out of the rest of his ensemble. It's a forgettable experience. This story could be best served as a television mini-series, but at a home such as Showtime or HBO to really deliver on the graphic violence.

    • Desperation: Here is where I'm going to cheat a tad and introduce a book that also hasn't been adapted for the screen. When "Desperation" was published in 1996, King also released "The Regulators" (which I enjoyed more) under his Richard Bachman pseudonym. Again, like my suggestion for "Needful Things," I say take "Desperation" to television (again, Showtime or HBO), but go experimental and do a full-on double adaptation and find someone who might be able to interweave the stories, or, shoot them back-to-back, as characters overlap. As it stands, the current Desperation TV mini-series by Mick Garris isn't the director's finest hour. The actors don't seem to get what movie they're in and I recall it being a bit ludicrous and preachy.

    There's my five. Are there any Stephen King movies you'd like to see get a do-over?

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    I'd love to see a fresh adaptation of Needful Things – it was my first King novel, and I've always been fond of it. A remake which does the book justice would be great – it would be amazing if they got Kiefer Sutherland to reprise his role as Ace Merrill from Stand By Me, as well as Michael Rooker as Alan Pangborn from The Dark Half – complete with George Stark flashback, as in the book? And they could include the scene where Polly meets the ghost of Cujo. I loved all those references – they made the book much richer when I finally got round to re-reading it.

    It's a pity Vincent Price isn't alive – he'd have been beyond perfect as Leland Gaunt.

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    max von sydow as pretty good as leland gaunt and ed harris was decent as alan

    they didn't stop the film from sucking though
    if the worlds gonna end then let's get it over with, i got shit to do

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    I don't understand why anyone would do a remake on a movie, unless the original movie was negligent. Seeing as I think the first version was perfect, I just don't understand the need to remake it. That's like all this talk about redoing the Rocky Horror Picture Show... Why????

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    http://www.obsessedwithfilm.com/movi...rie-remake.php

    When MGM hired a writer on their planned Carrie remake earlier this month, it was reported that the studio’s intention was to more faithfully adapt Stephen King’s original novel than the popular Brian De Palma film version of 1976. The Coen Brothers’ method of going back to Charles Portis’ novel for True Grit rather than remaking the famous John Wayne movie was cited as how this remake would be handled – more of an adaptation that forgets a previous film even exists.

    So it’s somewhat ironic tonight that Cinema Blend are reporting from one of their trusted sources that top of MGM’s wishlist to star in the remake of Carrie is none other than Hailee Steinfeld, the Oscar nominated youngster from True Grit. She would play the tormented teenager who posses emotionally discharged psionic powers which she uses to exert revenge on those who bullied her. Sally Spacek played the part originally and well, you’ve all seen the movie, I’m sure.

    How serious MGM’s interest in Steinfeld is unclear and indeed the remake hasn’t even got a director yet. Roberto Aguirre-Sacasa, one of the writers of the infamous Spider-Man: Turn off the Dark broadway show and who adapted The Stand into a comic book series at Marvel was tasked with the writing duties a few weeks back and we imagine it’ll be a while before serious movement on the film begins.

    For now it’s probably little more than one name amongst many on a studio wishlist but if they are seriously thinking about Steinfeld then that can only be a good thing. I can’t say I particularly need another take on Carrie but yeah, I’d see if with Steinfeld involved, not least because she’s mega talented but because Carrie White and Mattie Ross couldn’t be more different as characters.

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    Sally Spacek, heh

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    lol


    Does whatever a spiderman does.

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    And that's not all the Carrie news:

    http://www.thenational.ae/events/cat...al?pageCount=0

    It was one of the most spectacular flops in Broadway history. And yet, when a musical version - produced by the Royal Shakespeare Company, no less - of Stephen King's debut horror novel Carrie hit New York's Virginia Theatre in 1988, hopes were high. After all, King's book was a bestseller and Brian De Palma's 1976 film, starring Sissy Spacek as the girl with telekinetic powers, was something of a cult teen hit.

    But reviews were as blood-curdling as the havoc Carrie wreaks at her high-school prom. The New York Times called it a "wreck". And, just five performances later, Carrie: The Musical was over. Losing a record (for the time) US$8 million (Dh23.4m), its infamy was such that the American theatre columnist Ken Mandelbaum wrote a book titled Not Since Carrie: 40 Years of Musical Flops.

    So the news that New York's MCC Theater is to revive the show next January has sent ripples of amusement around the theatre world. The director Stafford Arima admitted in The New York Times that the show is to be revamped, updated and set in the 21st century. Most importantly, perhaps, at least half the songs will be different. As Mandelbaum noted in his book: "What makes Carrie unique is its combination of soaring, often breathtaking sequences and some of the most appalling and ridiculous scenes ever seen in a musical."

    Of course, a certain amount of suspension of disbelief is required for any musical - there aren't many among us who regularly break into song during periods of heightened emotion, after all. But in Carrie's case, it's arguable that it's impossible to be both tuneful and psychologically powerful.

    Indeed, some would argue that horror is not well served by the stage, with fake blood that's obviously fake, and tension somewhat dampened by stage hands moving the sets between scenes. But there's actually a fine tradition of theatre that disturbs and disgusts, going right back to the plays of Shakespeare. The supernatural forces at play in Carrie have their genesis in Macbeth. When The Globe staged Titus Andronicus in 2006, it had to issue warnings about the "gruesome and bloody" content after one too many audience members fainted. Grand Guignol, meanwhile, isn't just a catch-all term for melodramatically gory film, art or theatre - it comes from Le Théâtre du Grand-Guignol, a venue in Paris that opened in 1897 and specialised in scaring audiences with psychological dramas.

    And even though cinema has generally overtaken theatre as the medium of choice for a thrill or a chill, a well-judged play can still have immense power. The David Farr and Gisli Orn Gardasson version of Franz Kafka's haunting Metamorphosis, which has toured the world in recent years, may not have the jump-out-of-your-skin moment Carrie (the movie) boasts, but it does inflict a horrific torment as its protagonist is transformed into a beetle - and the Nick Cave/Warren Ellis score lends a distinctly uneasy edge.

    More straightforward scares are found in The Woman in Black, billed as "the most horrifying live theatre experience in the world". The stage version of Susan Hill's acclaimed novel, it tells the story of a young solicitor who gets more than he bargained for when he travels to attend the funeral of a former client. the production has been going strong in London's West End for more than 20 years, and has also played in the US, Japan and Dubai. The secret of its spine-tingling nature, audiences say, is its simplicity - it relies on just two actors, and the most basic of special effects.

    Essentially, for theatre to raise the heart rate, believability isn't as important as an immersive storyline. Those who queued up to see It Felt Like a Kiss - the collaboration between the theatre group Punchdrunk, the documentary filmmaker Adam Curtis and the musician Damon Albarn at 2009's Manchester International Festival - knew that they weren't actually going to come to any harm during the performance. But if festivalgoers happened across slightly dazed and uneasy groups of people walking around town, chances were they'd just been chased down the dark corridors of the office building in which the play was set... by a man wielding a chainsaw.

    And the most notable scary success on stage recently has been Ghost Stories, a collaboration between The League of Gentlemen's macabre genius Jeremy Dyson and the director of Derren Brown's shows, Andy Nyman. Making good on its advance warning that it contained "moments of extreme shock and tension", this brilliantly entertaining show came with a plea that people didn't give its entertaining secrets away, and ended up transferring to London's West End last year.

    So, actually, the ground has been prepared for a Carrie revival. In fact, one of MCC Theater's artistic directors said at the launch that they've "been in love with this piece since we heard a reading two years ago. It's so moving." Hmmm. You'll excuse us if we reserve judgment until, well, at least five shows in.

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    i'm seriously starting to wonder how long it's gonna be before some talentless chode or other releases someone else's book as his own. oh wait. already been done (essentially). some nobody wrote a lame Godfather book that would've made the Godfather himself assassinate him if only the Godfather were real. anyways, point is, shouldn't "plagiarism" apply to film, as well?

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    http://collider.com/kimberly-peirce-carrie/135363/
    While it’s been a while since we’ve heard anything about the planned remake of Carrie, the project seems to be moving forward as MGM and Screen Gems have settled on a director. Deadline reports that Boys Don’t Cry helmer Kimberly Peirce is in talks to get behind the camera on the Stephen King adaptation. Brian De Palma famously adapted the material in 1976 with Sissy Spacek in the career-defining lead role. This new version is said to be more faithful to King’s source material, though I’m assuming a fair amount of telekinetic carnage will still ensue.

    Playwright/screenwriter/comic-book writer Roberto Aguirre-Sacasa (Big Love, Glee, The Stand comic) penned the screenplay, and with Peirce now onboard the project seems to be moving toward casting. The critically acclaimed Boys Don’t Cry marked Peirce’s directorial debut in 1999, and the 2008 Iraq War drama Stop-Loss acted as her follow-up feature. The director’s experience with off-kilter coming-of-age stories should bode well for her work on Carrie, and I’m intrigued to see what her take entails.

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    They're going to change the setting to this decade? Ridiculous. Plus, to suspend disbelief in that case, you'd have to imagine that from the start it's a world in which Stephen King's career never happened... a thing that at this point, is real tough to picture.

  24. #24
    Goldmember herbertwest is a splendid one to behold herbertwest is a splendid one to behold herbertwest is a splendid one to behold herbertwest is a splendid one to behold herbertwest is a splendid one to behold herbertwest is a splendid one to behold herbertwest's Avatar

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    2014 : the 40 years anniversary edition of CARRIE... will be an opportunity to make some $$$

    This one doesnt need to be done.. there was already a remake.
    I already hate when Hollywood remakes some oriental movies (although i guess that it's sort of OK to make it more look like from out cultural point of view), but, for instance, THE GIRL WITH THE DRAGON TATTOO (by David Finder !!!! wtf?), was made in Sweden or Norway.
    The only reason was $$$

    [The music by Trent Reznor is really great though, but i'll boycott that movie]
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    ITEMS FOR SALE :

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    - Just After Sunset, UK partial uncorrected proof

  25. #25
    Servant of Gan Brainslinger will become famous soon enough Brainslinger's Avatar

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    I'm generally a believer that films should only be remade if the original was rubbish. The original Carrie certainly wasn't.

    That being said the 70s version of The Bodysnatchers is my favourite despite being a remake, (same for The Fly, and Carpenter's The Thing*) and the original wasn't bad. In my defence, the remake was the first version I saw, but I genuinely felt it was the better film overall.

    *Although it's arguably not a remake than a more accurate reimagining of the original tale- something I haven't actually confirmed for myself yet. It could be argued that this version of Carrie is the same, I guess, but I felt the original was pretty accurate to the book overall.
    Spoiler:
    They left out the meteors, but I though that a bit much.

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