Think of Sylvester Stallone and one of the first movies that comes to mind is "Rambo," a pure action shoot-'em-up. Think of hit-man movies and pure action, shoot-'em-up flicks again come to mind. Combine Stallone with a hit- man movie and you should get a pure action, shoot-'em up- flick. Seems like a surefire formula, right? But in "Get Carter," a remake of the 1971 British film, a pure action, shoot-'em-up flick is definitely not the product.
"Get Carter" stars Sylvester Stallone as Jack Carter, a "debt collector" who lives and works mostly in Las Vegas. Naturally, he's a loner who has distanced himself from his family, but when his brother is killed in an accident he goes back home to Seattle. His original intent was to make amends with his brother's family, but when he learns his brother's death may have actually been a murder, he decides to seek revenge. Jack begins to investigate and is immediately warned off by some of his old friends - even his brother's wife, Gloria (Miranda Richardson), wants nothing to do with him.
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Through old connections, smart deduction and good old fashion confessions, he slowly learns the circumstances surrounding his brother's death. His investigation leads him through several old acquaintances, including mobster Cyrus Paice (Mickey Rourke) and bar owner Cliff Brumby (Michael Caine, who starred in the original version).
Jack also encounters several new faces, such as computer multi-millionaire Jeremy Kinnear (Alan Cumming) and the attractive but mysterious Geraldine (Rhona Mitra). As he follows the trail behind his brother's death, all these people become interwoven in a sick web of murder and deceit revolving around the more unsavory side of the Internet.
This revenge-and-redemption formula is basic. However, unlike most such plots this one does not become completely clear until almost the end of the movie. Throughout, writer David McKenna never properly clues the audience in, nor does he develop characters fully.
The supporting cast is made up of completely two-dimensional, unchanging characters. Additionally, director Stephen T. Kay has no idea how to guide the flow of "Carter." As I watched it I could not help but feel disjointed from the action (what little there actually was). Instead of fitting together to tell a story, the scenes cut back and forth as though each was an unrelated snapshot.
A major culprit here is Maurio Fiore's cinematography. Series after series of sped-up flashing scenes gave the movie a chaotic feel, contributing to the plot's choppiness and confusion.
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Stallone, however is still Stallone. He definitely looks the part with his menacing goatee and slick suits. Unfortunately he tries to carry the movie entirely upon his broad shoulders. But he cannot take the blame for the holes in McKenna's weak script.
However, true and devout Stallone fans should not distress. These are the people who should definitely go to see "Carter." In Carter's quest to avenge his brother's death, Stallone manages to redeem himself. It's too bad his movie cannot do the same.
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