Since MGM found a director for the Carrie remake earlier this year, the natural question regarding the film-to-be is simply who will play the title character?  After all, Sissy Spacek was nominated for an Oscar for her performance as a telekinetic teenager in Brian De Palma's 1976 adaptation of Stephen King's first novel.  The question of just who will be covered in pig's blood at prom is close to being answered, it seems, as the candidates to play Carrie are down to two actresses: Chloe Grace Moretz and Haley Bennett.

Director Gregg Araki is a stylistic freak – whatever his budget , he will always color his films with a wide spectrum of shocking sights and sounds. Nothing is too delicate or controversial for the director.

In Kaboom, Smith (Thomas Dekker) is a regular bisexual college student: he lusts after his hunky blonde surfer roommate, Thor (Chris Zylka), and he hangs with his BFF, Stella (Haley Bennett). Everything is going well for him until Smith meets a girl named London (Juno Temple). The two quickly become more than just friends, and then suddenly chaos ensues when a mysterious red-head (Nicole LaLiberte) and a witch (Roxane Mesquida) – who becomes Stella’s love interest – appear.

Dekker is terrific in the role of the protagonist: he captures perfectly the vulnerability in his sexual ambiguity. As emotionally disturbed as the rest of the characters are, they are incredibly endearing. While the rebellious anti-heroes Araki idolized in the past still haunt his artistic vision, he now seems more enlightened and optimistic. Araki, however, still takes chances in his thematic work. He always finds a way to mix sexuality, violence, murder and nudity into the story. With Kaboom, the nudity and sex is prominently explored, yet the film isn’t nearly as violent as his The Doom Generation was. This is a story primarily of sexual awakening and embracing new experiences before our time on this earth is up.

One minor problem with the film is its much-too-quick final act. After focusing so extensively on character development throughout the strangeness, it would have been nice to slow down the action before the end credits. The final few minutes are too abrupt and explosive. I guess that’s why they call it… Kaboom!