zkonedog 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.

juneebuggy I really liked this movie, I know, I'm surprised too because the reviews were not too kind. But its sort of stuck with me over the last couple of days.Sylvester Stallone takes over the role Michael Caine played in the original 1971 British version as Jack Carter, a shiny suit wearing debt collector from Las Vegas who returns to Seattle for his estranged brother's funeral and is soon investigating the events that led to his death. He's a character I instantly felt sorry for, he's alone, lonely, obviously hates his life and everyone treats him like sh!t.The mood throughout is dark, violent and gritty with some interesting cinematography thrown in; jump cuts, strange angles and colour filters but there's also some good car chases, shoot outs and fight scenes. Stallone gets beat up real bad here by strip club owner Mickey Rourke.As a whole this film is pretty average but Stallone has a couple of moments where he amazes and makes you realize that he can really act when he wants to. He has several scenes with his niece (Rachael Leigh Cook) which are all quite strong but the one on the rooftop where she tells him what happened to her and he reacts is just astounding, probably one of the most powerful moments I've ever seen from Stallone as an actor.Alan Cummings also shines, Michael Caine has a cameo and randomly the soundtrack by (Tyler Bates) is quite decent as I watched this on the treadmill. *Vancouver as Seattle 4/6/16

Python Hyena Get Carter (2000): Dir: Stephen Kay / Cast: Sylvester Stallone, Mickey Rourke, Rachel Leigh Cook, Michael Caine, Alan Cumming: Heavy advertizing showcases mindless violence and complete idiocy. Forget Carter and find something of worth to watch. Sylvester Stallone plays a bad man named Jack Carter who slaps people around. That in itself must have taken extreme thought from the screenwriter. He is back in town to attend his brother's funeral whose wife wonders why he cares at all. He doesn't buy it as an accident and gets the real deal on a surveillance camera where a disc is passed. Scenes involving Carter's other job are a distraction and only serve for violence. Director Stephen Kay handles the action with fine locations but this is just a bigger budget and more violent version of the 1971 original starring Michael Caine, which likely had a more detailed screenplay. Story is almost entirely smash, boom, bang, pow, blam, yank, ka-boom! Stallone sounds less intelligent with each spoken word. He is there to fight and nothing more. Mickey Rourke plays Stallone's punching bag. Rachel Leigh Cook plays a confused teenager. She must be really confused to agree to be part of this garbage. Cameo by Michael Caine who really should have declined seeing that this is an insult. Forget Carter and leave the theatre with dignity. Score: 2 / 10

Tim Kidner 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.