The Rage: Carrie 2

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Cast & Crew

Emily Bergl
Rachel Lang

Jason London
Jesse Ryan

Dylan Bruno
Mark

J. Smith-Cameron
Barbara Lang

Amy Irving
Sue Snell

Zachery Ty Bryan
Eric

John Doe
Boyd

Gordon Clapp
Eric's Father

Rachel Blanchard
Monica

Charlotte Ayanna
Tracy

Katt Shea
Director

Patrick Palmer
Executive Producer

Paul Monash
Producer

Rafael Moreu
Screenwriter

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Critic Reviews for The Rage: Carrie 2

Audience Reviews for The Rage: Carrie 2

• Oct 12, 2013

  Intense and thrilling, The Rage: Carrie 2 delivers a frightening tale of horror. In this long awaited sequel, a social misfit named Rachel starts to develop psychic powers in the wake of her best friend's suicide. The plot largely following the structure of the original Carrie, but modernizes it and continues some story threads from the first film. The characters are developed fairly well, and the climatic action scene is dramatic and exciting. Still, the film is formulaic and has some plot holes. While it has some problems, The Rage: Carrie 2 is a solid thriller that stays true to Stephen King's original work.
  Dann M Super Reviewer
• Nov 01, 2012

  Oh, the rage, the horrible rage! No, this film isn't horrible, but wow, it is most certainly not good. By the ways, it's been 25 years, is Carrie still angry? We may never know, because this film isn't even about Carrie White, which is why they put the would-be subtitle, "The Rage", before "Carrie 2". Clearly, they're tacking on the "Carrie" title for the sake of success, but that evidently didn't turn out all that well, because where "Carrie" was "all the rage" (Get it?), this film just pumped people full of rage, or at least pumped rage into most of the handful of people who actually saw it. Wow, Katt Shea just can't catch a break, because "Poison Ivy" couldn't even make back $3 million, though it's not like anyone cares, because I can think of plenty of people who would say that "Poison Ivy" didn't deserve $3 million, just like I can think of plenty of people who would say that this film didn't deserve the $1.8 million that "Poison Ivy" actually ended up with. I, however, won't go that far, as I didn't hate the film, though I'm still a little glad that this film underperformed at the box office, because even with this film not being bad, the biggest reason why it goes saved is simply because it's just too bland too bad, which isn't to say that blandness stands alone as this film's savior, because although there's very little to compliment with this mess of a film, what strengths there are still stand. 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
  Cameron J Super Reviewer
• Apr 17, 2012

  This film offers nothing new, and plays out like a case of been there done that. The result is a bad film with a poor script and a low budget vibe. This film relies more on the gore elements this time around, and focuses less on the story, not that it matters because when it does, it navigates familiar territory that becomes predictable. The film suffers greatly due to its bad cast and poorly written script. The film is a pointless unnecessary sequel. I've thrown that term around quite a bit in describing horror sequels, but this is true with The Rage. I thought the film was bad with little substance. The film tends to play more on the gore effects. Director Katt Shea is more focused on grossing out the audience than scaring it. Considering that this is a sequel to a horror classic, you'd think that they would make it good. Unfortunately the result is a film that misses the mark and is a victim of its own conception because of the fact that it relies on gore and other assorted special effects. If more attention would have been given to its story, then the film might have been better, but it's not to be. The film has a high body count and if you love gore, you may enjoy this film. But to those whore are expecting a film like Carrie, you'll be sadly disappointed. The Rage plays out like a gore fest with slasher film elements due to a high body count. Nothing original is at work here, thus fans of the classic film will find this film pointless, stupid and a slap in the face of the original.
  Alex r Super Reviewer
• Jan 02, 2012

  To be honest, this young adult horror film aint half bad, I enjoyed the special effect quite a lot. Acting isn't fantastic but it's not too bad. It payed homage to the first film which is really good. It's more about sexual manipulation and humiliation in this not entirely related sequel, Emily Bergl was great.
  

  Sylvester K Super Reviewer

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