Kimberly Peirce directed this.
WHAT: Brian De Palma's 1976 film Carrie is not just my favorite of that director's films; it's also my favorite American horror movie made in my lifetime, and my favorite film made from a Stephen King novel (both high praise, if only for the existence of Stanley Kubrick's The Shining.) So of course I had to see this new remake on its opening weekend. I did not expect to like it as much as I did, given some of its fundamental flaws, evident early on in the picture. I don't have time to review it, so instead will point to two polar opposite reviews that make compelling cases for and against the movie: Walter Chaw's and Armond White's.
WHERE/WHEN: Multiple showtimes daily at various multiplex theatres in every Frisco Bay county at least through the end of the month.
WHY: Halloween approaches! After posting about Halloween/horror screenings arriving at Frisco Bay cinemas in coming weeks, I was reminded by a reader comment that the Balboa is also hosting two October evenings of horror screenings, namely three silent-era films that have been given new soundtracks (not just music but sound effects and, it appears, dialogue as well) in an attempt to appeal to silent-film averse audiences, and a documentary on local television horror host Bob Wilkins.
After Halloween, the venue is screening a double-bill of 1930s Bela Lugosi horror films The Black Cat and White Zombie on November 7th. For the price being charged I would hope these would be 35mm prints, but I'm skeptical because the event is meant to be a benefit, and a big part of the draw is the presence of San Francisco resident and horror movie memorabilia collector (oh and Metallica guitarist) Kirk Hammett, along with the display of some of the pieces from his collection which have recently been photographed for publication in a coffee table book. The Another Hole In The Head film festival is also on the horizon at the Balboa and the Roxie, with a just-announced schedule that includes now-rare 35mm screenings of Jaws and The Shining at the Balboa.
HOW: Shot on digital cameras and screening exclusively on digital projectors.