GET CARTER / (2000) **1/2 (out of four)
By Blake French:
Hollywood action movies are obsessed with the name Jack? Half the heroes who come out of this genre carry that quick, one-syllable name. Why can't movies be more creative in giving names to their heroes?
Jack is the only name to fill the image of the main character in "Get Carter." What other name could stand behind a hulking, stylish character who speaks macho phrases like "My name is Jack Carter, and you don't want to know me." Sylvester Stallone gives the conventional character a sense of brooding strength and heart that only the conventional "Jack" could deem worthy.
Michael Caine portrayed Jack Carter in the original film based on the Ted Lewis novel Jack's Return Home. Now Sylvester Stallone brings a fresh new edge to the character. Spending his life collecting for powerful clients, Jack Carter stands apart from the people in his life. When his brother dies, however, he sets out to investigate his siblings' death.
This takes Carter back to his family roots in Seattle. He reconnects with his brother's wife, who isn't thrilled to see him. "Now you come back? Where were you when your brother needed you? You were never here at Christmas or vacations; you were never here at the birth of your niece. Just go home, Jack."
Perhaps the biggest problem with "Get Carter" lies in the film's inability to connect with the audience. In the production notes, the filmmakers rant about redemption and morality, but it appears they were so concerned with the message of the movie that they assumed we would automatically get it. We don't.
There's a real strong sense of a back story here, but the screenplay by David McKenna ("American History X") doesn't include the audience in this concept. The characters feel very connected, and the mounting tension becomes especially effective in the third act, but we know so little about the circumstances, it's hard to become involved in Jack Carter's interest of bringing the villains to justice.
Those villains remain a mystery until the end. Perfectly timed and calculated, the film reveals the right amount of information at the right time. Considering the bland, blatantly straightforward dialogue, the unconventional cast delivers fine performances. Alan Cumming and Mickey Rourke slither across the screen as characters who instantly appear as if they can't be trusted. Michael Caine even lands a role here as the boss of Jack's deceased brother.
Director Stephen T. Kay brings an edgy, innovative style to the film. The lighting, camera technique, costuming, and even the physical action scenes are somewhat unusual and unquestionably contemporary. The action scenes are shot with a great amount of detail and mood, but the editing often feels rushed and skittish. The artistic merit in the choreography slips away from the violent encounters that leave too much to the imagination.
On the other side of the chart, some of the scenes last way too long. The endless, melodramatic conversations, laden with contrived pauses between sentences, feel like something out of a soap opera. The corny soundtrack adds greater camp to the humorous attempt at drama.
Despite opening to disastrous reviews, "Get Carter" does offer some decent material. However, albeit this is a close miss, I cannot recommend the film because of the performances and artistic design alone. This movie has the potential for much more than silly dialogue, contrived situations, and an undeveloped back story.
There's an easy way to tell if a remake works or not. After watching the movie, does it make you want to see the original version. I haven't seen the original "Get Carter," and after watching this version, that isn't at the top of my must do list.
By Blake French:
Hollywood action movies are obsessed with the name Jack? Half the heroes who come out of this genre carry that quick, one-syllable name. Why can't movies be more creative in giving names to their heroes?
Jack is the only name to fill the image of the main character in "Get Carter." What other name could stand behind a hulking, stylish character who speaks macho phrases like "My name is Jack Carter, and you don't want to know me." Sylvester Stallone gives the conventional character a sense of brooding strength and heart that only the conventional "Jack" could deem worthy.
Michael Caine portrayed Jack Carter in the original film based on the Ted Lewis novel Jack's Return Home. Now Sylvester Stallone brings a fresh new edge to the character. Spending his life collecting for powerful clients, Jack Carter stands apart from the people in his life. When his brother dies, however, he sets out to investigate his siblings' death.
This takes Carter back to his family roots in Seattle. He reconnects with his brother's wife, who isn't thrilled to see him. "Now you come back? Where were you when your brother needed you? You were never here at Christmas or vacations; you were never here at the birth of your niece. Just go home, Jack."
Perhaps the biggest problem with "Get Carter" lies in the film's inability to connect with the audience. In the production notes, the filmmakers rant about redemption and morality, but it appears they were so concerned with the message of the movie that they assumed we would automatically get it. We don't.
There's a real strong sense of a back story here, but the screenplay by David McKenna ("American History X") doesn't include the audience in this concept. The characters feel very connected, and the mounting tension becomes especially effective in the third act, but we know so little about the circumstances, it's hard to become involved in Jack Carter's interest of bringing the villains to justice.
Those villains remain a mystery until the end. Perfectly timed and calculated, the film reveals the right amount of information at the right time. Considering the bland, blatantly straightforward dialogue, the unconventional cast delivers fine performances. Alan Cumming and Mickey Rourke slither across the screen as characters who instantly appear as if they can't be trusted. Michael Caine even lands a role here as the boss of Jack's deceased brother.
Director Stephen T. Kay brings an edgy, innovative style to the film. The lighting, camera technique, costuming, and even the physical action scenes are somewhat unusual and unquestionably contemporary. The action scenes are shot with a great amount of detail and mood, but the editing often feels rushed and skittish. The artistic merit in the choreography slips away from the violent encounters that leave too much to the imagination.
On the other side of the chart, some of the scenes last way too long. The endless, melodramatic conversations, laden with contrived pauses between sentences, feel like something out of a soap opera. The corny soundtrack adds greater camp to the humorous attempt at drama.
Despite opening to disastrous reviews, "Get Carter" does offer some decent material. However, albeit this is a close miss, I cannot recommend the film because of the performances and artistic design alone. This movie has the potential for much more than silly dialogue, contrived situations, and an undeveloped back story.
There's an easy way to tell if a remake works or not. After watching the movie, does it make you want to see the original version. I haven't seen the original "Get Carter," and after watching this version, that isn't at the top of my must do list.