Hellen I like the storyline of this show,it attract me so much

ChicDragon It's a mild crowd pleaser for people who are exhausted by blockbusters.

Voxitype Good films always raise compelling questions, whether the format is fiction or documentary fact.

Edwin The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

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

Scarecrow-88 A Las Vegas "fixer" (Sylvester Stallone; those who don't pay their debts when expected are greeted by this enforcer) returns home to Seattle after a considerable absence upon the knowledge of his brother's death. While on its face, the brother seemed to have been drunk behind the wheel and hit a tree, it turns out after some investigation that the crash could have been a ruse to cover up shady activities.A bartender, a porn "businessman" (Mickey O'Rourke; a real sleaze in this film) perhaps hooking girls out of a club he runs, a Harvard-educated computer whiz (Alan Cumming, in a rare straight role; he's a real weasel, always whining and pee-in-his-pants scared), and a pub owner (Michael Caine, who deserved a bit better than this underwhelmingly limited supporting part, considering he was the star of the original this film was inspired by) all factor into the results of Stallone's investigation. Meanwhile, Stallone's Vegas boss wants him back regardless of the investigation into his brother's murder. Gretchen Moll, the boss' mol, had been having an affair with Stallone, while the always-awesome John C. McGinley (making the most of a small role; most couldn't take the scraps he's given and make them a full course meal like John does here) shows up in Seattle to inform Stallone that the boss insists he returns no questions asked. Of course, Stallone isn't about to leave Seattle until those responsible for his demise are brought to justice (his brand of justice, of course). There's always somebody trying to thwart the investigation, and Stallone remains determined to see the course, with lots of car chases (and, especially, crashes), leveled faces from heavy punches landed, and quivering punks about to crap their pants. Personally, despite a lot of flak this remake has endured, I think it isn't too shabby actually. Stallone, when inspired, can deliver a good performance. He could always crack wise and look all muscled in Demolition Man or Tango & Cash (both of which are pleasures I can enjoy all the time), sending up his action star image, but when required, he had the pathos and wherewithal to apply his acting skills when the right role came along. Like something totally critically maligned (and less regarded) such as Eye See You, or even critically lauded by not as popular with the public (Cop Land), Stallone seemed on his A-game. Even the disaster film, Daylight (which I think should be re-evaluated by all of Stallone's fans; I think this is a good one that could find its audience), was an outlet for Stallone to flex his acting muscles. In Get Carter, this part asks him to portray a damaged character with a not-so-glamorous rep. In fact, his brother's wife, played by a rather wasted Miranda Richardson (her caliber of an actress seems miscast in an action thriller), doesn't even want him around while a young Rachel Leigh Cook (you know, I rather like her the more I watch her; some of the teen stuff she wasn't that challenged, but here is a part that is tough, playing such a girl surrounded by corruption and evil) confides in him because there's no one else around to listen. I think the best acting bits are between Stallone and Cook; here, the vulnerable side of the roughly-hewn, stewing, anger-seething Stallone is visible, while Cook can let down her guard and speak openly with him. A CD containing recordings of a drug-induced rape of a minor and a hooker (Rhona Mitra, simply stunning, even as she's glammed down into trampy dresses and make-up) the dead brother was involved in an affair with both could shed light on the false car crash and its purpose. With intense exchanges between O'Rourke and Stallone, which soon lead to fisticuffs (first, O'Rourke gets the better of Stallone, but later the results are reversed), and a shifty Caine who seems to be hiding something (he just has that way about him that can't be trusted) provide some intrigue in the film. I wasn't a fan of the photography (a lot of close proximity, in-your-face shots, and the camera rarely holds still very long) in the film, nor was the editing style much to my liking (I prefer compositions to last past two seconds), but Stallone's star appeal (and charisma), as well as, his sincerity in the developing storyline held my interest. If he cares in the part, it shows. It sure as hell did in Cop Land; I think, while his career was starting to decline as the 90s made its way into the early 2000s, he had some of the best performances since the early days when Rocky announced him as a major star.

rjm-geo 97% less nasty than the Micheal Caine version, which was, face it, about as nasty as they come. And so yes, it lacks the raw feeling of disgust and with it most of the dramatic tension. And, yes, there are some some nonsensical plot moves especially towards the end, unlike the rather spartan, bleak, and more thematically satisfying resolution of the 1971 film.But taken on its own merits, it's a good movie. I'll go one step further: surprisingly good.The styling works. The music works. Stallone works, though he's a little too cuddly perhaps. Rachael Leigh Cook works, her character is just believable enough to hold the movie together. Without that the movie would be throwaway.Highlight of the movie is Micheal Caine lecturing Stallone on how revenge is pointless and Stallone's blunt reply: "no its not". Come on? The original Jack Carter telling this to John Rambo? Worth the price of admission right there!Though I admit you will have to make some allowances especially if you've seen the original:Too many gratuitous car chases. - Bad guys are ridiculously bad shots, even for an American action film. - Playing Jeremy Kinnear for comic relief leaves the bad guys toothless. - Botches the "Jack Carter is having an affair with his boss's wife/girlfriend" side plot completely.Kudos though for keeping the names intact while moving from the North of England (a train ride from London) to Seattle (an even longer train ride from Las Vegas). That was cute.Kudos also for keeping the pornography angle, but that was also a bit of a problem, since, well, the filmmakers decided they couldn't push the _underage_ angle and without that the main motivating force of the plot evaporates.Check your brain at the door, enjoy the show. It's not a terrible film.

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.