The author of the excellent 'All Heads Turn As The Hunt Goes By', John Farris, wrote his version of 'Carrie' after that novel's success as book and film; it was called 'The Fury'. It also explored the subject of telekinesis (moving objects with the mind), but he stretched it over a broader, international canvas and threw a terrorism subplot, a fractured love story, an Argento-inspired school for cute, gifted girls, telekinetic rivalry, and John Cassavetes as an evil puppetmaster of troubled psychic warriors into the brew. Assisted immeasurably by John William's devastating, baroque score, Brian De Palma's film of Farris's screenplay is another example of stunning visual storytelling. Losing the direct Hitchcockian references, De Palma applies a harder, leaner style to the storytelling and creates a powerful work that is less fun than his later films, but no less compelling. As always, there are a number of stand-out sequences, and the stand-out sequence in this is Amy Irving's escape from the institute where she is being groomed for "evil" by the charming but twisted Cassavetes. Irving's flight into the street, shot in slow motion, is cinema at its purest, most transporting and erotic (Irving is wearing a nightie). William's scoring of this sequence is stunning. A carousel accident, orchestrated by "evil" psychic Andrew Stevens (in a chilling performance), has great entertainment value, and the liberal use of blood and bulging prosthetic facial veins goes a long way towards elevating this film to cult status. The finale, which features an exploding head (a pre-"Scanners" exploding head, mind you) is simply bloody great.