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Get Carter (2000)
Tomatometer
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Reviews Counted:58
Fresh:6
Rotten:52
Average Rating:3.5/10
Consensus: A remake that doesn't approach the standard of the original, Get Carter will likely leave viewers confused and unsatisfied. Also, reviews are mixed concerning Stallone's acting.
Runtime: 1 hr 42 mins
Genre: Dramas
Synopsis: Jack Carter's brother is dead. And Jack (Sylvester Stallone) wants to know why. A Las Vegas mob enforcer, he carefully packs his guns and sets off for Seattle by train. At the funeral, he discovers... Jack Carter's brother is dead. And Jack (Sylvester Stallone) wants to know why. A Las Vegas mob enforcer, he carefully packs his guns and sets off for Seattle by train. At the funeral, he discovers his brother was full of alcohol when he died in a car accident. But according to his niece, Doreen (Rachael Leigh Cook), his brother didn't drink. Jack starts on a tortuous trail that leads, via gang boss Brumby (Michael Caine) and porno-loving thug Cyrus Paice (Mickey Rourke), to a Seattle computer billionaire named Jeremy Kinnear (Alan Cumming). Among those trying to "get Carter" is Con (John C. McGinley), another enforcer from Las Vegas. GET CARTER is the second remake of the bleak and gritty 1971 British thriller of the same title. In the original, directed by Mike Hodges (CROUPIER), Michael Caine was Carter. The first remake was George Armitage's 1972 film HIT MAN. Scriptwriter David McKenna and director Stephen T. Kay have shifted the location in GET CARTER 2000 to the Pacific Northwest. While they have made it less perverse than the original, this version is more upscale, and more jolting, with splintered jump cuts and pulsating music. [More]
Starring: Sylvester Stallone, Miranda Richardson, Rachael Leigh Cook, Michael Caine
Starring: Sylvester Stallone, Miranda Richardson, Rachael Leigh Cook, Michael Caine, Mickey Rourke, Alan Cumming, John C. McGinley
Director: Stephen Kay
Director: Stephen Kay
Story: Ted Lewis
Reviews for Get Carter
The movie around Stallone is fairly dreadful, so overly stylized and poorly written that it's always a struggle to stay oriented.
A stimulating visual showcase of stylish filmmaking that keeps a viewer's attention.
For those just interested in getting a closer look at whatever the hell happened to Mickey Rourke's face -- this could be a keeper. But probably not.
The result is Get Carter for dummies, the biggest ones being those who pay to see it. It's also an incoherent, irredeemable mess.
Maybe it's all the rain and leaden skies, but instead of conjuring up the rueful mood it's after, the film mostly just plays dark, wet, and heavy.
Stylized visuals add some spice, but they cannot overcome the formulaic and obvious screenplay, which is of no help to a film that is structured as a mystery.
Carter, who goes to Seattle to hunt down his brother's killer, may have entered a labyrinth of evil, but his response to it ... is as hollow as it is monolithic.
[Stallone] has to wade through way too many scenes in which show-offy camera work turns him upside down or flashes lights at him or divides him up into three screens.
Worked for me despite its slow pace and somewhat predictable story line, because of the sharp turn given by Sly Stallone, its groovy tunes and its generally dark and gritty nature.
This film is flat, boring and poorly made when it should have been just the opposite, and much of that blame lies squarely on Kay's shoulders.
If you strip the material of its ineffective level of performances, what we are left with is a concept that, at least at the core, is quite intriguing.
Director Stephen Kay obviously spent an inordinate amount of time studying The Limey ... but he learned all the wrong lessons.
It's three years since Sylvester Stallone has sprinkled his brand of fairy dust on America's movie screens, and judging by Get Carter, time hasn't been on his side.
Stallone's Jack Carter can't shut up -- and his sentimental ramblings, accompanied by facial twitches that are apparently meant to approximate acting, are stupefying.
This gloomy revenge thriller is a sadistic cartoon ... whose phony moral soft center ... really is the last straw.
The flash cannot make up for the dullness of the script ... and Stallone's emotional immobility.
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