Despite many attempts at rebooting and remaking Stephen King’s first novel (including most recently in 2013), the 1976 version of “Carrie” remains the best version of the story. The story itself is a perennial tale that strikes a chord with anyone that has ever felt out of place, ridiculed or powerless. But it is director Brian De Palma’s version that has lasted for 40 years (celebrating its anniversary on November 3rd) and has woven itself so completely into the fabric of pop culture.

There has been one other film adaptation of King’s book, a TV movie, a sequel and a Broadway musical, and yet it’s De Palma’s vision that has stood the test of time and embedded itself into the public consciousness. Much of this is the great work of screenwriter Lawrence D. Cohen, translating King’s epistolary novel into a vital examination of teenager outsiders, but it also is De Palma’s expert direction. The film is melodramatic at times, with heightened emotions echoing throughout its running time (even in the comic moments, it’s a pretty heightened view of reality). But that’s perfect for the tableau of teenage life, where everything is the most important; every social faux pas, every Prom, every moment is weighted against surging hormones and a rigid societal structure within the school. By using larger emotions, the dramatic score by Pino Donaggio, and the excellent framing of camera shots, De Palma puts the audience into the mindset of a teenager and allows them to empathize easily with the emotions.

De Palma’s camera work and staging goes a long way to establishing this tone. The opening locker room scene straddles the line between innocence and exploitation with its soft focus slow motion before it careens into Carrie’s (Sissy Spacek) nightmare of having her period. Just like the moment marks that line between childhood and adulthood for Carrie White (and her emerging psychokinetic powers), De Palma shoots the scene and gets both readings out of the way it unfolds. It’s always bright in the high school scenes, well lit and seemingly a safe space for the bullied Carrie, but instead, it’s a form of hell for her as she tries to squeak by unnoticed by the masses. It’s not until she returns home to a dramatically candlelit house and encounters her mother (Piper Laurie) that the audience realizes there is no respite for this odd girl. Her family life is even more abusive and horrible than the traumatic experience at the start of the film.

Viewers are immediately sympathetic to Carrie, first to her lack of understanding of basic biology, and then to the horrendous treatment at the hands of her Holy Roller mother. This is what makes the turn at the end on prom night so effective – she’s committing terrible acts, mostly against innocent people, but we’ve seen how much she’s had to put up with in school and home. It’s a moment of psychological dissonance best displayed by the split diopter shots and split screens (which De Palma would become famous for) that has the audience diverting its attention between the “monster” and her victims. Not since Frankenstein’s monster has there been such a sympathetic creature that does terrible things.

Speaking of the legacy of “Carrie” and monsters in movies, one of the ways that shows the film’s mark on pop culture is the fact that Carrie is probably one of the few female “boogeymen” that is readily identifiable by people everywhere. In a landscape of slashers, monsters and other horror icons, Carrie is one of the few female portraits that still stands out in her blood-soaked prom dress dispensing horrific justice to her classmates and teachers. Not since Elsa Lanchester in “The Bride of Frankenstein” has there been such a legendary female horror figure… and probably not again until Samara from “The Ring” many decades later.

It’s an odd legacy, to be sure, but it is one that is important, as this female character stands shoulder to shoulder with others like Jason, Freddy, Dracula and all the rest. Part of her iconic nature is due to the imagery of a virginal woman doused in blood with Spacek’s creepy stare that De Palma captures on film. But part of it is also that audiences that see the film get to know the character, care about her, and worry about her right up until she starts carelessly killing off those around her. It’s important to note that, in a field dominated by male monsters, Carrie still stands out as one that people can immediately recognize with or without context. Even this horror-themed music video includes a “Carrie” nod amongst all of its other genre references because of her indelible appearance and place in pop culture. (Those just interested in the “Carrie” part should skip to 3:24).

One last element that cemented the legacy of “Carrie” and influenced many films to come is the ending. Shot in a dreamlike manner (actually shot backwards and then rewound), with that same soft focus brightness from the beginning, there’s a false sense of security that all is over and this is just a touching coda for a misunderstood girl. But De Palma sees an opportunity for one last scare and delivers a doozy (itself inspired by the last sequence from “Deliverance”), with a hand reaching up to grab the sympathetic Sue Snell (Amy Irving).

It’s still an effective scare to this day, but more importantly, it ended up shaping the idea that horror films need one last scare to send audiences screaming home. “Friday the 13th” was one of the first copycats, and its ending is a direct homage to that same jump-scare dream sequence, but other films followed suit with one last “gotcha!” that had audiences recoiling in fright just when they thought it was safe.

When “Carrie” was a smash hit in 1976, it ended up being a boon to many careers. It helped cement Stephen King’s legacy as a modern master of horror in pop culture, even for those not interested in reading; it gave De Palma a hit after many misfires at avant-garde comedies, which allowed him to go on to make films like “Scarface,” “Dressed to Kill,” and “The Untouchables”; and both Spacek and Laurie received Oscar nominations for their performances. The film also created a female horror icon that would permeate pop culture for decades, while also introducing a final scare moment that would be copied by an untold number of films.

And yet, despite all of these accomplishments, the greatest legacy of the movie is that it’s still a powerful examination of teenage life and being a misfit. The heightened emotions that De Palma brought to the tale perfectly capture the intensity of being a teen, and the film goes to great lengths to underscore the isolation and confusion of being a girl on the verge of womanhood. “Carrie” is still a thrilling, scary and emotionally complex film that works to this day because it manages to nail the tone needed to tell this outsized story and imprint itself upon the public’s consciousness. Forty years later and the tragic tale of a misfit teen still packs a punch, a powerful legacy that any film, no matter its genre, would desperately aim to accomplish.

Who: Sandra Bullock and George Clooney
What: A medical engineer and an astronaut work together to survive after an accident leaves them adrift in space
When: October 4th
Why: Alfonso Cuaron hasn’t made a feature-length film since 2006’s underrated tour de force “Children of Men,” but if the early buzz surrounding “Gravity” is to be believed, then it was well worth the wait. The sci-fi drama has been in development for what seems like years, and Warner Bros. deserves a lot of credit for taking the chance on such a daring project. It definitely helps when you have actors like Sandra Bullock and George Clooney attached, but with audiences constantly lamenting the lack of originality in the Hollywood system, it’s refreshing to see that studios haven’t completely abandoned this type of filmmaking. “Gravity” probably won’t make a ton of money at the box office, but it should be at the top of everyone’s must-see lists.

Who: Justin Timberlake, Ben Affleck, Gemma Arterton and Anthony Mackie
What: When a poor college student who cracks an online poker game goes bust, he arranges a face-to-face with the man he thinks cheated him.
When: October 4th
Why: If “Runner Runner” sounds like the unofficial sequel to “Rounders,” that’s because it was written by the same duo, Brian Koppelman and David Levien. Obviously, gambling is just the gateway into the world of their latest film, but fans of the 1998 poker thriller should be encouraged by their involvement, because they clearly know their way around the subject. Whether or not they strike gold twice remains to be seen, but “Runner Runner” has a good enough cast to pull it off. Justin Timberlake is a natural entertainer who’s only gotten better with experience, and though Ben Affleck appears to be hamming it up a bit as the villain, he’s proven that he can deliver great work with the right material and director.

Who: Tom Hanks, Catherine Keener and Max Martini
What: The true story of Captain Richard Phillips and the 2009 hijacking by Somali pirates of the US-flagged cargo ship MV Maersk Alabama.
When: October 11th
Why: There’s an inordinate amount of films based on true stories being released this year (even more so than usual), and Tom Hanks stars in two of them. But while moviegoers may be excited at the prospect of seeing the veteran actor play Walt Disney in “Saving Mr. Banks,” the Paul Greengrass-directed “Captain Phillips” is the more intriguing of the pair. Many people don’t know much about the real-life events that inspired the movie, and that’s only going to work in its favor. Add to that Greengrass’ knack for dramatizing true stories (as evidenced in “Bloody Sunday” and “United 93”) and what looks like yet another Oscar-worthy performance by Hanks, and there’s no reason why “Captain Phillips” won’t be part of the conversation come awards time.

Who: Danny Trejo, Jessica Alba, Sofia Vergara, Charlie Sheen and Mel Gibson
What: The U.S. government recruits Machete to battle his way through Mexico in order to take down an arms dealer who wants to launch a weapon into space.
When: October 11th
Why: The first “Machete” wasn’t nearly as entertaining as its gonzo premise suggested, but with Robert Rodriguez taking over full directing duties for the sequel, there’s a part of me that really wants “Machete Kills” to fulfill that potential, especially with a rumored third installment (“Machete Kills Again… In Space!”) already in the works. The sequel looks bigger and better than the original, with a cast that includes Antonio Banderas, Sofia Vergara, Cuba Gooding Jr., Demian Bichir and Charlie Sheen (credited here as Carlos Estevez). And if that wasn’t enough to get you on board, Rodriguez has even managed to enlist Mel Gibson to play the Big Bad. Why his character is dressed like a “Street Fighter” villain is beyond me, but it’s great to see that the actor still has a sense of humor, because it’ll go a long way in repairing his career.

Who: Chloë Grace Moretz, Julianne Moore, Judy Greer and Ansel Elgort
What: A shy girl outcast by her peers and sheltered by her deeply religious mother unleashes telekinetic terror on her small town after being pushed too far.
When: October 18th
Why: Fans of the 1976 original will no doubt cry foul over this latest adaptation of the Stephen King novel, but purists will be pleased to learn that the 2013 edition reportedly sticks closer to the book. And if its R rating is any indication, the film won’t be skimping on the violence and gore either, despite the fact that it’s directed by Kimberly “Boys Don’t Cry” Peirce. She’s certainly a unique choice to helm a horror movie, but if nothing else, it proves that the studio is serious about creating the best version possible. That extends to its cast as well – particularly star Chloe Grace Moretz (one of Hollywood’s more exciting young talents, who’s never been afraid to dip her toes in the genre pool) and Julianne Moore as her ultra-religious mother.

Who: Sylvester Stallone, Arnold Schwarzenegger, Jim Caviezel and Vincent D’Onofrio
What: When a structural-security authority finds himself incarcerated in a prison he designed, he must put his skills to escape and find out who framed him.
When: October 18th
Why: Before “The Expendables,” moviegoers had to wait decades for the chance to see action stars Sylvester Stallone and Arnold Schwarzenegger side by side on the big screen, but these days, you can’t seem to keep the two apart. It’s a smart move by the actors to piggyback off each other’s popularity, because my interest level probably wouldn’t be quite as high if this was merely a Sly Stallone vehicle. The first two “Expendables” films were nothing more than elaborate teases, but “Escape Plan” feels like the actual dream team-up that action fans were hoping for when Schwarzenegger announced his retirement from politics. Though it looks like he’ll still play a much smaller role compared to Stallone (the part was reportedly beefed up when he signed on to the movie), without Arnie, no one would care.

Who: Chiwetel Ejiofor, Michael Fassbender, Sarah Paulson, Brad Pitt and Paul Giamatti
What: In the antebellum United States, Solomon Northup, a free black man from upstate New York, is abducted and sold into slavery.
When: October 18th
Why: The way people were talking about “12 Years a Slave” at this year’s Toronto International Film Festival, you’d think that the Steve McQueen drama had already won the Oscar for Best Picture. But no matter how effusive the praise may have been, it’s impossible to make those kinds of predictions with several other award contenders still yet to be seen. Nevertheless, “12 Years a Slave” does sound like the quintessential Academy Award movie, from its challenging subject matter (based on a true story, no less) to the incredible ensemble cast. It’s nice to see Chiwetel Ejiofor finally getting the credit he deserves, and between his lead performance and McQueen regular Michael Fassbender’s turn as a villainous slaver owner, it’s easy to see why the film has Oscar gold written all over it.

Who: Benedict Cumberbatch, Daniel Brühl, Carice van Houten and Alicia Vikander
What: The true story of two men’s quest to expose the corruptions of power that turned an Internet upstart into the 21st century’s most fiercely debated organization.
When: October 18th
Why: The story behind WikiLeaks is one that seems tailor-made for the big screen treatment – especially with a protagonist as captivating as the website’s enigmatic founder, Julian Assange – so it’s no surprise that the movie is already drawing comparisons to the likeminded “The Social Network.” Similar to that film, “The Fifth Estate” boasts an intriguing tale about an Internet startup and a fantastic cast led by two of the more exciting rising talents working today. In this case, those actors are Benedict Cumberbatch and Daniel Bruhl, and their involvement alone makes the movie worth seeing. Whether director Bill Condon is able to deliver an experience as fascinating as the real-life story is another question, but based on the mixed reaction from its Toronto premiere, it’s going to depend largely on what side of the debate you fall on.

Who: Robert Redford
What: After a collision with a shipping container at sea, a resourceful sailor finds himself, despite all efforts to the contrary, staring his mortality in the face.
When: October 18th
Why: The talky financial thriller “Margin Call” did a better job of showcasing writer/director J.C. Chandor’s screenwriting skills than his ability behind the camera, but for his sophomore effort, Chandor has bravely removed that variable from the equation. “All Is Lost” is a one-man show in the truest sense, and as such, there’s very little dialogue for Chandor to lean on. Fortunately, he managed to enlist Robert Redford as his leading man, and though the veteran actor hasn’t delivered a noteworthy performance in several years, it would be crazy to think that he won’t earn an Oscar nomination for his work here. The movie was a big hit at this year’s Venice Film Festival, and between its “Life of Pi”-like survival story and Redford’s reportedly triumphant performance, this is one you’ll want to hunt down at your local indie theater.

Who: Michael Fassbender, Cameron Diaz, Brad Pitt, Penelope Cruz and Javier Bardem
What: A lawyer finds himself in over his head when he gets involved in drug trafficking.
When: October 25th
Why: It’s been awhile since Ridley Scott’s last great film, but he never fails to attract the best talent possible. Though frequent collaborator Russell Crowe isn’t involved in the director’s latest project, Scott has nevertheless landed an impressive ensemble cast comprised of two former Oscar winners, an Oscar nominee and two Golden Globe nominees. “The Counselor” has the unfortunate distinction of being released during one of the most competitive awards seasons in recent history, but with an original script by Cormac McCarthy, the potential for this one is still pretty high. In fact, I’m actually looking forward to just sitting back and watching these great actors go toe-to-toe without any preconceived expectations that it has to be award-worthy for it to be any good.