Reviewed at the Regency II, San Francisco, March 10, 1999. Palmer second unit camera, Steve Poster casting, Gretchen Rennel Court. Burman, Bari Dreiband-Burman assistant directors, Stephen Buck, Susan E. Aldredge sound (DTS), Steve Smith sound designer, Alan Rankin digital visual effects, Kleiser-Walczak Construction Co. Grimsman set decorator, Linda Spheeris costume designer, Theoni V. Harvey music supervisors, George Ghiz, Richard Winn production designer, Peter Jamison art director, Geoffrey S. Morgan editor, Richard Nord music, Danny P. Screenplay, Rafael Moreu, based on characters created by Stephen King.Ĭamera (Deluxe color/B&W prints), Donald M. Original film’s lush Pino Donaggio score has been replaced by a rote assemblage of tracks by C-list rock bands.Īn MGM release of a United Artists presentation of a Red Bank Films production. Scattered shots are in B&W, to no discernible point. Thrills and chills are at a bare minimum. But she seems hapless to coax personality from the colorless cast, or to keep Rafael Moreu’s by-the-numbers screenplay from dragging toward tedium. Moving up a rung from lower-budget genre efforts (“Stripped to Kill,” “Poison Ivy”), director Katt Shea lends “Rage” routine technical gloss. Even the special effects seem less inspired. Nor do her cookie-cutter nemeses come near the vivid impression made by Allen’s malevolent bimbo or Laurie’s evangelical nightmare mom. Not particularly plain, awkward or ostracized, Bergl’s Rachel hardly risks the pathos or fear Spacek’s memorable Carrie sported. Though ideas and scenes are shamelessly recycled from “Carrie” and other horror pics - including gratuitous inserting of some 1976 clips - “The Rage” seems hellbent on diluting every exploitable aspect. But it’s too late to prevent an explosion of supernatural violence at an all-too-predictable party climax. Sue discovers a hidden hereditary link between that late disgruntled teen and the new one. The only observer to suspect Rachel’s secret, as-yet-undeveloped telekinetic powers is school counselor Sue Snell (Irving), the sole notable survivor of Carrie White’s Bates High blood bath some two decades earlier. Alyssa Milano ('Fear,' TVs 'Charmed') stars as a beautiful art student drawn into a dangerous world of obsession and desire when she discovers a diary containing Ivys deep and dark secrets in this erotic thriller. Latter’s pique, among other developments, leads to our heroine’s planned humiliation at a post–Big Game bash. Even from the grave, Poison Ivy continues to sting. He’s also attracted to Rachel, a development that displeases his bitchy A-list girlfriend (Charlotte Ayanna). One of the more sensitive jocks, Jesse (Jason London), doesn’t approve of his teammates’ loutish behavior. One such victim is Lisa (Mena Suvari), Rachel’s best friend she takes a fatal dive off the school roof in protest. These star football players have a particularly vile competitive “game” they play off the field: deflowering underage classmates whom they then jilt and brag about. Now living with callous foster parents, 16-year-old Rachel (Emily Bergl) sports a mild Goth-rock look that abets her social non-status as a “skank” amid the ruling clique of shallow cheerleaders and obnoxious jocks at Bates High School. Smith-Cameron) is hauled off to the loony bin. Brief prologue shows protagonist Rachel removed from home at an early age when her schizophrenic single mom (J. The current edition uses the original as a blueprint, but leaves out all the wit, sympathy and bravado. Its mix of black comedy, horror and fantasy-revenge elements left a lingering stamp on teen genre pics. Soles, long-MIA vet Piper Laurie (Oscar-nominated with Spacek) - who, along with helmer’s stylish work, elevated borderline-trash material to baroque heights. Flick introduced or boosted a whole classful of thesps - Sissy Spacek, John Travolta, Amy Irving, William Katt, Nancy Allen, P.J. Critical reception was mixed at the time, but the 1976 release now often is considered De Palma’s best-realized work, as well as the top screen adaptation of a Stephen King book (though Lawrence Gordon’s screenplay in fact played very loosely with the scribe’s first published novel, to its benefit).
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