The Rage: Carrie 2 Reviews
In final execution, there's really not too much to the story, yet the overall premise concept really isn't too shabby, being definately not too commendable, yet decent enough to create a moderate degree of immediate intrigue. True, what immediate intrigue there is remains rather lacking, yet it is there, and pronounced just enough to nearly save the film as decent, and when the immediate intrigue goes intensifed by what director Katt Shea does, in fact, do moderately right, the film picks up, with the final act particularly biting as, well, actually pretty tense. True, no part in the film gets to be as effective as "Carrie" got to be, with this film being primarily much more bland than its predecessor, yet, if nothing else, the final act does actually thrill a bit, thanks largely to its brutality, because when things go down and heads begin to roll, the film delivers on unexpectedly hardcore gore, complimented by some pretty sharp effects, thus supplementing the sense of consequence that would be nothing without what Shea does do right, or, for that matter, leading lady Emily Bergl. Surprisingly, no performance is bad, yet nearly everyone is simply mediocre, with Bergl herself being given only so much to do, but Bergl is consistently decent in her portrayal of the Rachel Lang character's awkwardness and anguish, and as material begins to rise for her, she delivers on emotional range that may not be too impressive, but is still better than this film probably deserves, as it would have defined the lead as an engaging one, were it not for the undercutting mediocrity. Of course, that being said, it is, in fact, the mediocrity that helps the most in saving this film, for although the final product is too bland for its own good, ambition is felt enough for the film to actually be a little bit charming. If this film does nothing else better than "Carrie", than it is the dismissal of slowness, for although this film does deserve to be more engaging, its charm makes it all but pretty entertaining, and with there being only so much to really criticise and a reasonable bit to compliment, the final product goes nearly saved as actually decent. However, in the long run, what is wrong with the film is consistent just enough for this promising project to fall flat as, albeit barely mediocre, but mediocre nevertheless, undercutting what it does do right with what it slips up on, while the script finds itself with nothing to undercut, as it really doesn't have much to compliment.
True, Lawrence D. Cohen's script for "Carrie" wasn't exactly top-notch, and Rafael Moreu's screenplay for this film really isn't all that much of a tremendous disaster, yet at the same time, there's little to compliment about Moreu's script, but quite a bit to criticise, for although faults in dialogue and set pieces are very few and far between, they still stand, with the cheesiness that the dialogue and set piece faults only supplement keeping consistent. The film isn't cornier than a well-bred chicken's diet, as I was expecting it to be, yet it is consistently, well, to be frank, kind of lame, pulling atmospheric tricks and plaguing the dialogue and set pieces with mostly immense blandness that leaves the film feeling helpless, if not a touch desperately manipulative. What further supplements the film's manipulativeness is Moreu's really going overboard in his playing to audience expectations, in that he plagues this film, from begining to end, with cliche, upon cliche, upon cliche, driving the film into one trope after another, until the final product collapses into an eye-roll worthy level of predictability that slows down momentum tremendously, or at least it would, were it not for the fact that this film really has no momentum to begin with. When I said that the film doesn't pick up until the final act, woah boy, I wasn't kidding, because where "Carrie" moves a bit too steadily for its own good, for almost the entirety of this film, absolutely nothing happens, and this film is actually longer than the already pretty do-little "Carrie". There is just so much excessive filler and very little exposition, thus rendering the film hopelessly unfocused, dragging its feet from one point to another aimlessly, and sometimes even in circles, because even with there being nearly nothing going on, this film still finds time to get pretty repetitious, if not just plain borderline monotonous. Again, the film isn't boring, or even all that dull, being no unwatchable experience, yet still one that is just so very bland and draggy, with not much else to keep it going other than a mild degree of intrigue and an actually pretty fair bit of ambition. Of course, with that said, while the ambition saves this film from mediocrity by gracing the final product with pretty pronounced charm, the ambition actually assists in the film's ultimate downfall as a mediocre misfire, as it shows you all of the areas in which this film could have succeeded and all of the areas in which this film slips up, and while the film slips up in only so many areas, it steps up even less frequently, blandly dragging along until it falls as nearly likable, but not likable enough, just mediocre.
Bottom line, the high points that are within the premise create a degree of immediate intrigue, intensified by a decent lead performance by Emily Bergl, as well as by what is, in fact, done reasonably well by director Katt Shea, whether it be the admittedly pretty thrillingly gory final act or enough amibtion to grace this film with consistent charm and, by extension, a moderate degree of entertainment value, yet not enough to drown out the cheesy spots and immeasurable slew of cliches that slow down the film's momentum, which is already made nearly nonexistant by the repetitious, when not do-nothing plot that tremendously supplements the immense blandness, further pronounced by Shea's undercut overambition, that leaves "The Rage: Carrie 2" to fall flat as, albeit borderline likable, but still too mediocre to be all that worth watching.
2/5 - Mediocre
At its simplest, the plot is similar to that of the original. Introverted high school girl discovers her telekinetic powers and avenges her years of torment on her conniving classmates. It is strange though, because the film manages to come across as both too similar plot-wise to the first, and too different. It is tied to the first film in a fairly obtrusive way which sort of makes you wish they would have just began a new story. There are no religious overtones, which were a major component of Stephan Kings story as well as minimal tying in of an abusive home environment. The character of Rachel comes across as far too emotionally tough. The character of Carrie works so well because of the dichotomy between her naive, sheltered innocence and her unbridled power and rage. This new character is far too adult and self-reliant, and just lacks an entire side to her emotions that made Carrie so compelling.
In addition to the main character not being up to snuff, the story in general takes a major downgrade. The womanizing football player angle is overly dramatic, forced and unimaginative. Their reasons for targeting Rachel are paper thin at best, and it all seems spontaneous and superficial. In the original, it was quite clear that Carrie White had suffered through years of abuse at the hands of her tormentors, making it far more emotional when she unleashes years of pent up anger upon them. In this, it never feels like Rachel is an abused outcast. More like she is a counterculture girl who just doesn't fit in with the in-crowd. When she looses it in the end, it just doesn't pack the same punch.
The acting is pretty standard throughout. A couple familiar faces like Amy Irving reprising her role of Sue Snell and Mena Suvari, but its mostly an unknown crew. As I said, pretty mediocre performances all around. No one shines, but no one really drops the ball. I would swear in a court of law that Jason London is actually Ethan Hawke.
The movie from a technical standpoint is also a downgrade. The creepy and brooding score of the original is replaced with gothy rock music which makes it feel more like a scene piece rather than a horror film. The cinematography is bland, and the lighting is too dark. Also, while minimal, the computer effects are pretty sub par.
In all seriousness, the studio should have known better than to try a sequel to such a classic. None the less a classic with such a definitive ending, and to try it 25 years after the fact. It was entertaining enough for me to pay attention and remain involved, but when compared to the original, there is no comparison.
As a whole, CARRIE was a prom film, with a horrific twist. Does THE RAGE: CARRIE 2 even hint at the possibility of a prom being held? Of course not! That's what bad sequels are for, anyway. And this is supposed to be a supernatural horror film, like the original, because Rachel also has telekinetic powers (what next, a film in which we discover that their common father has telekinesis, and that it was genetic to begin with?). There's the scenes that show the supernatural side (i.e. a scene early on after Lisa commits suicide, and because of this, Rachel becomes mentally frustrated, causing every locker in the school to fly open), but the "horror" of it all is never revealed. So really, this is just like a science fiction film.
The music was part of what gave nightmares to many people who watched CARRIE. Why does it come across as surprising that there is one solid theme in the beginning, and the rest is just a bunch of rock tunes composed by Danny B. Harvey (whoever he is)? Who finds rock music scary, anyway?
Overall, THE RAGE: CARRIE 2 is dreadfully underwhelming. There is nothing horrific about it, and it is just an unsuccessful homage to the 1976 classic. Do not waste your time with it.
people picked on her so bad that she became angery and in 2 rage and got her revenge on people that under esstimated her
"In 1976, Sue Snell watched her life crumble as her boyfriend and most of her friends were killed by telekinetic Carrie White after she was humiliated by sadistic classmate Chris Hargenson at the school prom after being pronounced "Prom Queen." Now, 23 years later, Sue is a counselor at the new high school where she seems to develop most of her time on Rachel Lang, a troubled young girl whose best friend has just committed suicide. Rachel is a normal girl, except for the fact that she can move things with her mind from time to time. Some of the football jocks are planning to humiliate Rachel at the "biggest party of the year," using the unknowing Jesse as bait, because she told on them being involved in her friend's death. If only everyone knew that Rachel is Carrie's half-sister"
I don't really feel that anything was wrong with the actors, they don't seem to be given anything deep or real direction. The overall look seems very B-movie. I don't know what they were aspiring for. It's just a mess.