Don't Believe the Hype

As somebody who had not heard any of this before, it became a curious phenomenon to sit and watch a film and slowly have the realities begin to click into place.

The acting in this movie is really good.

This movie feels like it was made purely to piss off people who want good shows

Jack Carter, a mob enforcer living in Las Vegas, travels back to his hometown of Seattle for his brother's funeral. During this visit, Carter realizes that the death of his brother was not accidental, but a murder. With this knowledge, Carter sets out to kill all those responsible. Get Carter is a 2000 Remake of the same name and stars Sylvester Stallone, Rachael Leigh Cook, Miranda Richardson, Rhona Mitra, Alan Cumming, Mickey Rourke, John C. McGinley and Michael Caine and it's some sort of an "Anti-Revenge Thriller" that received a lot of bad reviews from critics and was a box office flop and although i understand why at a certain degree i didn't find the movie to be that bad as many critics said it was actually a fun and enjoyable movie and Sylvester Stallone gave a terrific performance as Jack Carter and in my opinion he fits the part perfectly plus he had a great chemistry with Rachael Leigh Cook who plays Doreen. Now my major flaw with the film was the rest of the cast that was simply not that good to begin with and even Cain's character was just kinda forgettable at times but the action, the cinematography, the soundtrack and Stallone were pretty good and if you ever find it on TV, Netflix or even on DVD check it out it's no Masterpiece for sure but it's a good action/drama film. (8/10)

As I sat down to watch this film, I expected very little based on previous "recommendations" and reviews. Remarkably, it still managed to bore, confuse, and altogether turn me off.For a basic plot summary, the movie focuses on Jack Carter (Sylvester Stallone), who returns to Seattle (after spending years as a mob-enforcer in Vegas) for the funeral of his brother Richie. After discovering that Richie was "into something" at the time of his death, and also may have involved his daughter Doreen (Rachael Leigh Cook), Jack goes on a revenge streak that leads him into a dangerous business cover-up.This film fails on so many different levels that it is difficult to even remember them all (but I'll try):-The plot is so confusing that you almost have to "Wiki" the film after viewing to know exactly what transpired. -Besides Stallone's Carter, none of the auxiliary characters stand out whatsoever, thus they tend to blend into each other and only add to the confusion. -Director Stephen T. Kay tries to be a visionary with the camera, but all we get are scenes that don't make much sense, along with scenes so frenetic that it is impossible to even know what is going on. -Try as they might, the writers/producers cannot make Jack Carter an interesting character whatsoever. For the majority of the film, he ruthlessly pursues a gang of business thugs, taking them down one by one. Then, with hardly an emotional scene to swing public opinion, we are supposed to believe he has changed. Not quite.Really, only Cook's Doreen is an interesting character in the film, and she isn't given enough screen time to upgrade the overall plot much, if at all.This "Get Carter" was a remake of the 1971 version starring Michael Caine, and I would recommend the original if only because there is no way it could be as boring, bland, or confusing as this 2000 reboot.

Sylvester Stallone's remake of the British classic GET CARTER has gone down in history as one of the biggest flops and worst remakes ever. Watching it now, I can see why; it's a completely forgettable film that might just pass muster as an average straight-to-video thriller but which feels like a catastrophe when compared to the original.The problems with this film are myriad, but most noticeably missing is the sense of location. GET CARTER made excellent use of its northeastern locations, whereas this remake just has an ordinary Seattle backdrop that looks like a hundred other thrillers from the era. It's not one of Stallone's finest performances either; he looks constipated throughout the production, which is a surprise given that he'd made the excellent COP LAND fairly recently which had contained one of his greatest performances.The casting of Michael Caine in a crucial role just reinforces how tedious and average this thriller is. Sure, the plot is fast paced, but the direction is hollow and the action sequences feel sub-par, somehow. I notice that director Stephen Kay has wisely stuck to television fare after the double whammy disaster of this and BOOGEYMAN (which was even worse).

Some Hollywood remakes of classic Brit flicks work, to a degree (both Michael Caine films, actually) - The Italian Job and even 'Alfie', to my mind - but The Wicker Man and now, here, Get Carter, just don't.Why? Well, to make them different enough and presumably for American audiences, all semblance of what made them originally work flies out the window. Michael Caine was a believable bloke next door who was pushed and forced into taking the law into his own hands, not Rambo dressed as a yuppie who just has to LOOK at people and they cry...Then, they obviously thought 'stick in some British people, to make it more British', which it obviously doesn't. Miranda Richardson tries but poor old (or young) Alan Cumming is always on a lost cause as the techno-geek dot.com millionaire who's as spoilt rotten as the film is.None of the events seem to make sense, lurching from one precipice to the next and when violence (sudden, explosive, often without reason) isn't enough, some of the worst scenes I've ever witnessed, of Stallone attempting to emotionally bond with a young girl called Door-een. Even the way he says her name is haunting me now, after!I'd also forgotten that Mickey Rourke has a part in this - I strongly suspect that he wisely chooses to do the same, now that he's got his reputation and bad luck (& films) behind him. Maybe this shoddy affair was his turning point, his rock bottom?Perhaps the many faults lie with the film trying to follow the original too closely - which is where my aforementioned The Italian Job differs. The only tangible connection with both old and new in those are the Mini's, though purists might argue that the new style BMW owned Mini's in the remake aren't real Mini's etc etc.So, what we have here is a clump of the original story, crudely updated and dumped in a sea of other bits salvaged from other ill-advised ideas.