CARTER: MOVIE REVIEW (2020)

A political epidemic thriller with gory, vicious turns is reimagined by Carter.

Over the past 18 months, Netflix has been making some modifications. While consumers may object to commercials being inserted into their programming, they can rejoice in the fact that they have been gradually expanding their consumption of foreign television and films, particularly Korean dramas and films. The platform alone has seen the success of shows like Money Heist: Korea and All Of Us Are Dead in 2022, while Squid Game attracted new viewers to Korean entertainment in 2021. With Netflix's global programming, the future seems to have a lot of potential and promise, but August 2022's lineup includes Carter, the most recent movie directed by Jung Byung-il..

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Carter follows the tattooed title character (Joo Won) when he wakes up in a gory hotel room with no memory and a voice in his ear giving him some extremely hazy survival instructions. The story is set in the aftermath of a virus that is turning people into savage killers.

Carter apparently has to locate the kidnapped daughter of a doctor who has found a means to cure the virus and safely deliver her to locations where a major vaccination experiment is taking place. The issue? There is a bomb inside Carter's tooth (really), three distinct government agencies and hundreds of agents seem to want him dead, and he is unsure of whether he can trust her.

You should be able to tell whether or not you'll like the Netflix movie after seeing its opening sequence. The camera swerves and rotates around Carter as he chops his way through his attackers after being confronted by a group of CIA operatives and escaping through a sauna before being ambushed by at least 100 individuals (no exaggeration!).

The entire scenario is disorienting, masterfully orchestrated, brutal, and masterfully filmed. Similar acrobatic camera work is used in David Leitch's Bullet Train, which also leaves you feeling seasick and a little exhausted. It provides a framework for what is to come.

I wasn't lying when I mentioned that the movie feels like a two-hour action sequence. There is hardly any downtime. Poor old Carter gets to punch, cut, and shoot his way through a variety of car chases, motorcycle chases, and mid-air gunfights that happen after airplane explosions and lead to yet another vehicle chase. At one point, Carter rolls around in the back of a truck full of grunting pigs while shooting various foes; in another scene, he hangs from a collapsing rope bridge like Indiana Jones while casually shooting zombies (yes, zombies) attacking from both sides.

Throughout it all, the camera buzzes around him in a 360-degree circle or zooms into the air for a bird's-eye perspective, following him like a roaming insect. It is both mentally and physically taxing to observe.

The action's size and scope are both Carter's greatest asset and its greatest flaw. Although everything is done really well, there is simply too much of it. Extraction, starring Chris Hemsworth, appears to move slowly because of the sensory bombardment. The relentless barrage of action makes us lose interest in what we're witnessing, and I got the impression that the combat scenes and character development might have benefited from a little more downtime and discussion.

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