Carter

Carter movie review: Starring Joo Won as an amnesiac spy, Netflix's Korean action film is nearly unwatchable because of director Jung Byung-gil's dizzying ...

In fact, it is actively disappointing early on, and positively maddening by the time our protagonist is having a mid-air shootout with a cackling villain. But while 1917 was stitched together from a handful of extended sequences by masking the cuts, Boiling Point was actually filmed in one take. This isn’t the first time that a filmmaker has attempted to create this illusion on screen.

Carter is 2022 thriller movie directed by Jung Byung-gil starring Won Joo.

Movie description: A man wakes up with no memory of anything. Jung Byung-gil has managed to put together a thriller with loads of action, special effects, and in particular the characteristic hypnotic touch of Asian action movies, which is always engaging. ‘Carter’ lives up to all those criteria, and for added value it also has an intelligent script, and it terribly close to living up to the standards of a Chirstopher Nolan film, which is a tall order.

One of the most awaited South Korean movies of this month has to be Netflix's Carter which fans have been looking forward to watching since its thrilling ...

Instead, the Good Doctor actor was directly made into a killing machine that knows what it is doing without his memories. The movie has numerous physics-defying action scenes that we just can’t come to accept and made this movie almost feel like a waste of time. It is evident that the actors have put a lot of effort into the movie, but the dizzying camera work and the ending have really put me off. The movie begins with a man in a motel room who wakes up to find the CIA trying to catch him. The only thing he knows is the instructions given by a voice that takes him on a dangerous mission to rescue a girl. As the movie proceeds, the man is unable to defy the voice in his head until he is able to get rid of the bomb.

If you thought the counteragent for overly choppy and incoherent set pieces was perhaps longer takes, Netflix's latest catastrophe, Carter, is here to prove ...

Because a movie well-edited is one where the work of the editor is almost inconspicuous. As Carter rampages through an endless onslaught of enemies, the pseudo-oner makes a sorry attempt to convey the doggedness of one man in the face of overwhelming adversity. But in the case of Carter, the trickery is so blatantly obvious we are deprived of even that pleasure. Byung-gil does possess the acumen and appreciation for the form, and he understands the strength of choreography is vital to its pacing and thrills. In a race against the clock, he must rescue the girl and reclaim his identity, while a swarm of CIA, South Korean and North Korean agents come after him. The shorter version: there is an amnesiac who defies every law of physics, a young girl used as a human prop, a North Korean coup, and a potential zombie invasion. This is quite the lapse for Jung Byung-gil, the South Korean filmmaker whose previous movie The Villainess was a visceral maelstrom of incident and choreography. Not that the visibility of the artifice is the only issue here. The illusion works as long as the movie holds a firm grip on the viewer and its editorial seams aren't showing. Leave it to the streaming giant and its mix-and-match algorithm to take the one-shot movie and gimmick it up to 11. Egregious abuse of the green screen gives a jarring artificiality to the settings of the action set pieces. Yet, even the illusion can make for a great hook, as there is an inherent sense of urgency and suspense the conceit brings with its uncut drama.

Jung Byung-gil's Carter is a dizzying action film about one man trying to save the world with no memory and no time.

A homogenous-looking and exhausting spectacle, Carter does very little right in a film that seems more ambitious than it really is. Here he doubles down on the amount of mobility that was present in The Villainess. The camerawork is compelling in these sequences and there’s a good mix of hand-to-hand and dangerous driving that receives great coverage – the problem is that it never really looks good in motion. Save for the motorcycle sequences that do have some inspired moments in them, Carter’s biggest problem is that it tries to do so much narratively without actually having anything to say. It’s all needlessly convoluted and whenever Carter attempts to slow down and explain it, it’s more of a headache than it’s worth. It’s all a familiar set up dressed to the nines by Jung and co-writer Jung Byeong-sik, setting Carter’s protagonist in the middle of a global crisis where only he can save the world. With its influences innumerable and obvious, Jung’s latest film delivers some dizzying action amidst an undercooked, familiar story of espionage and backdoor politics mired in risky decisions that rarely work.

A shirtless, tattooed man walks through a dark room. Not a guy you want to mess with. Credit: Netflix ...

The body count is almost certainly higher than the number of lines of dialogue spoken. Pummelling the audience with constant, intense action makes us eventually numb to what we're watching, and left me feeling that some more down time and dialogue would have helped me care about the characters and appreciate the fight scenes even more. The screenplay, written by the director with Jung Byeongsik, is minimal. At one point Carter shoots his way through various enemies while rolling around in the back of a truck filled with grunting pigs; in another scene he hangs from a disintegrating rope bridge, Indiana Jones-style, casually shooting zombies (yes, zombies) attacking from both sides. The whole scene is dizzying, fantastically choreographed, ultra-violent, and impressively filmed. The opening sequence of the Netflix film should give you a pretty clear idea about whether or not it'll be your cup of tea.

This review of the South Korean Netflix film Carter (2022) does not contain spoilers. In the midst of a pandemic, Carter wakes up in a room with no clue.

The hand-to-hand combat sequences, for example, were pretty well choreographed, but because of how little you got to see thanks to the way the film was edited, they were absolutely wasted. In the midst of a pandemic, Carter wakes up in a room with no clue as to who he is or how he got there. The cuts were not edited anywhere near well enough to hide them, and it was very distracting throughout the whole film.

Desmond Ridder swapped his No. 9 jersey from his days at Cincinnati for the No. 4 jersey with the Atlanta Falcons, and there's a pretty simple reason for ...

The rookie signal-caller knew he likely could have bought the number from Carter but chose not to make an offer. The 22-year-old isn't expected to be named Atlanta's starting quarterback in 2022 with the addition of Marcus Mariota, but he could be the franchise's starter at some point in the future. Ridder said he messaged linebacker Lorenzo Carter after the draft to ask if he'd be willing to give up No. 9, but he turned Ridder down.

England and Chelsea defender Jess Carter hopes the Lionesses' UEFA Women's EUROs win helps inspire children across the world to follow their dreams.

And the 24-year-old said: “I have not been to any tournaments before so I don’t know what it was like previously but to me, that felt like the most together team. “We all came together and did the absolute best that we could. She said: “In my opinion, there needs to be more access for everybody and that is where it starts. Speaking at the event, Carter said: “For us, we want to inspire the next generation. With the blowouts after the games the next day, everyone is waking up thinking we don’t want to do this but everyone put in so much effort to make it the best session that they could and did the best we could to be the best team-mates. It is not about your race or whatever.

Netflix has two big new movies coming from South Korea exclusively this month, one of which has just touched down in the form of Carter. Should you hit play ...

Of all the insane action stunt work scenes, the one that stood out for me is the fight sequence around 50 minutes into the movie that starts with the kidnapping of a child from a man on a motorcycle. Ultimately, the film is a perfect example of modern action cinema gone awry. Action works best when in service to the plot. This nearly 7-minute sequence culminates in several motorcycles blowing up all at once. The movie seems to be fascinated or preoccupied with certain elements that, by themselves, could have been an interesting backdrop or subtext to the main plot. Between drone shot transitions & rotating tracking shots, the cinematography feels like the scenes between missions in certain First Person Shooter games.

Carter reimagines a political pandemic thriller with bloody, violent twists. Man stands in bulletproof gear. Netflix. Netflix has been rolling out ...

Those with weaker stomachs might not like the gore and violence, though, which takes up a vast majority of the screen time. His motivations are murky and his motive unclear, but, at the same time, he is risking his life for this mission. But because he lost his memories and does not remember his daughter and wife, this does not work emotionally. Through exposition, the viewer becomes acutely aware that this virus came less than a year before North and South Korea agreed to a cease-fire, but then everything falls apart when the doctor goes missing. There is a push and pull between Carter being an American agent who went rogue in North Korea then another woman coming to tell him that his real name is Michael Bane. Meanwhile, at the movie's beginning, Carter is informed by North Koreans he had a wife and a kid in North Korea and that he was a hero to their people. American soldiers returning home from deployment in Korea are the source of the outbreak in North America, but this is not a movie focusing on the United States. As the camera shifts away from the people on the bus and into an abandoned area, another television report, this time Korean, informs the audience a doctor who cured his daughter of the virus has gone missing. It does not need an excuse to focus on the story too much, but, instead, the extended fight sequences are edited to look like they happen in a single take. The very first fight scene takes the word bloodbath literally, putting Carter into a massive fight against what seems to be a hundred men in a bathhouse. She now gives him instructions on what to do and where to go, lest he dies from a bomb implanted in his mouth, and along the way, he discovers that he worked for North Korea, his wife died of the virus, and now he needs to help North Korea get the treatments ready for the disease before it is too late. With his bed and floor coated in blood, the people on the bus storm in and demand why he kidnapped the doctor. The movie does not go into detail about why exactly this is the case but establishes an urgency as to why she needs to get to North Korea right now. With a run time of one hundred and thirty-two minutes, Carter is a wild, illogical ride all the way through.