Get Carter Movie | Get Carter Full Movie | Get Carter Movie Download | 2000


Cast (in credits order) complete, awaiting verification  

Sylvester StalloneSylvester Stallone...Jack Carter
Miranda RichardsonMiranda Richardson...Gloria
Rachael Leigh CookRachael Leigh Cook...Doreen
Rhona MitraRhona Mitra...Geraldine
Johnny StrongJohnny Strong...Eddie
John C. McGinleyJohn C. McGinley...Con McCarty
Alan CummingAlan Cumming...Jeremy Kinnear
Michael CaineMichael Caine...Cliff Brumby
John CassiniJohn Cassini...Thorpey
Mickey RourkeMickey Rourke...Cyrus Paice
Mark Boone JuniorMark Boone Junior...Jim Davis (as Mark Boone Jr.)
Garwin SanfordGarwin Sanford...Les Fletcher
Darryl ScheelarDarryl Scheelar...Security Guard
Yan-Kay Crystal LoweYan-Kay Crystal Lowe...Girl #1 (as Crystal Lowe)
Lauren Lee SmithLauren Lee Smith...Girl #2 (as Lauren Smith)
John MooreJohn Moore...Priest
Tyler LabineTyler Labine...Bud #1
Mike CookMike Cook...Richard Carter (as Michel Cook)
Morgan BraytonMorgan Brayton...Waitress
Yves CameronYves Cameron...Peter
Alexander PervakovAlexander Pervakov...Jimmy
Chris DugganChris Duggan...Bouncer
Michael RumainMichael Rumain...Big Mike
Rob LeeRob Lee...Simkins
Nathaniel DeVeauxNathaniel DeVeaux...Vorhees
Rest of cast listed alphabetically:
Riley CantnerRiley Cantner...Ball Boy (uncredited)
Carrie Anne FlemingCarrie Anne Fleming...Geraldine's Roommate (uncredited)
Saskia GouldSaskia Gould...Girlfriend (uncredited)
Jenni JubbJenni Jubb...Brumby's Daughter (uncredited)
Stephen KayStephen Kay...Man at Party (uncredited)
David LeaDavid Lea...Villain in Kitchen (uncredited)
Gretchen MolGretchen Mol...Audrey (uncredited)
Billie PerkinsBillie Perkins...Party Girl (uncredited)
Tom SizemoreTom Sizemore...Les Fletcher (voice) (uncredited)
Frank StalloneFrank Stallone...Man at Funeral (uncredited)
Dave ThompsonDave Thompson...Housekeeper (uncredited)

Get Carter Movie Trailer

Get Carter Film (1971) Official Trailer - Michael Caine, Ian Hendry Movie HD

Get Carter Full Movie Description

In Get Carter Movie The film's central character, Jack Carter, is a Las Vegas gangster who returns to his roots in Seattle following the death of his brother. 

It was officially reported as an accident, but Jack suspects that his brother may have been murdered by members of the local criminal underworld. The film follows Jack's efforts to find out the truth and seek revenge.

Of course, this is a fine example of Hollywood's cannibalism of the British and European film industries in its endless search for a good story. It is a remake of one of the few great British gangster films, Mike Hodges' classic from 1971. 

That film was one that grew out of a particular place and time, in the north-east of England in the early seventies, and yet grew at the same time. It was a time of rapid social change in Britain, marked by increasing social mobility, increasing permissiveness and relative prosperity, all of which are reflected in the film. 

Like many great British films, it had a strong sense of place. Its fidelity to real time and place was not a weakness but a strength, helping to ground it firmly in the realm of reality and convey its major theme, the sterility and futility of the criminal lifestyle. 

Its approach to the underworld was a counterpoint to the late sixties and early seventies tendency to glamorize criminals ("The Thomas Crown Affair"), sentimentalize them ("The Italian Job") or mythologise them. serves as the necessary antidote. The Godfather").

Stephen Kay's film attempts to establish a sense of place similar to the original; The Seattle we see has a dark, forbidding atmosphere, always shrouded in rain or fog. It has a much more star-studded cast than the original, with at least one decent performance from a weak Mickey Rourke. 

Despite this, though, it's a much worse film than the original. This is mainly because of the way Jack Carter's character has been changed. 

Michael Caine's Carter, for all his sharp suits and fast cars, was no more than a ruthless street thug, a poor boy going bad at a time when other poor boys were doing well. 

Sylvester Stallone's character, in contrast, may be rough on the outside (Stallone plays him as an outwardly emotionless man with a gruff, emotionless voice) but underneath he's one of the good guys. 

The plot has been rewritten to make Carter less cruel and ruthless and to allow him to survive in the end. The original was a morality play with (as another reviewer pointed out) the theme of "those who live by the sword shall die by the sword". The remake is simply a revenge thriller with a hero the audience can love.

This illustrates one of the dangers of remakes. K's film keeps the title, the bare outline of the plot, and even names some of the characters, but completely fails to capture the spirit of the original. 

Furthermore, it is unable to replace that feeling with something new. If the filmmakers wanted to make an exciting goodies-versus-baddies revenge thriller, they could have chosen a better starting point, with a very different objective in mind than the plot of the film made nearly thirty years earlier.

It has become a tradition for remakes to feature cameo appearances by the stars of the original films. For example, Martin Scorsese's "Cape Feare" featured at least three of the same actors as the earlier J.J. In the Lee Thompson version, Gregory Peck, Robert Mitchum and Martin Balsam appeared. 

However, it was a rare example of a remake that we're as good as, or even better than, the original. K's "Get Carter Movie", however, is not in the same class as Hodges. So, it was disappointing to see Michael Caine in a remake that could only undercut one of his best movies.

A remake of the 1971 film with Michael Caine.

Las Vegas mob enforcer Jack Carter travels to Seattle to investigate the mysterious death of his brother. Local crime lords seek to break him out, but Carter continues his search for the truth.

Starting with a promising start (though it's amusing that someone thought Stallone could match Caine's acting) the film soon slips into a bad case of mediocrity. It takes the same idea as the original and tries to be just as badass with its kinetic and almost experimental direction, but ends up just poor. 

Stallone's Carter is given an almost softer side that goes against the character from the first film. There are some enjoyable car chases on top of that, but they serve as the sensationalism that was severely lacking from the first film.

Then there's the ending, which has some merit (since the film already establishes Carter as bland as the original), but even so, it's still pretty bland and does little to say or resonate with the film. 

drop offs. This ultimately makes it a second-rate crime film that you can enjoy, but don't count it out.

Stallone and director Stephen T. Kay's stunning, re-imagining of the 1971 British gangster Get Carter Full Movie is a monumental mess on most levels; A wobbly, warped and frankly quite annoying piece that renders what was once glossy pulp polished action and slow-burn film-noir into loud, messy, catchy nonsense.

Some will claim that this is Kei applying his own style to a set text, but in this case it is a set text that does not need to be reimagined combined with a style that we do not want to see , while the original didn't need an update and certainly didn't bother to serve as a director calling card for someone who would later pursue a career in making television shows.

The 2000 remake of Get Carter Movie begins in its urgency to establish some sort of passing of the guard; This helps to continue the same basic tone by briefly playing the old theme tune from the original film over images before a new, more contemporary beat; In the kind of style that sounds like it came out of a rave club and landed smack bang on the soundtrack. 

This is a telling moment; A moment that had the hallmarks of the old, and this new version of both the music and the film brings everything in motion for it. 

Sylvester Stallone is currently Jack Carter, working heavily in Las Vegas and London, who boards a train to travel to Seattle and Newcastle to attend his brother's funeral. 

As might be expected, the distorted, fragmented way in which Jack's train journey is traversed through angles and editing represents the character's warped and wavering feelings as he slowly gets closer to home and slowly dies. 

Slowly one realizes the death of a brother. Rather than being included for the sake of fact, it may 'look cool' in the eyes of the producer.

Carter finds an unnatural way to be able to kick people in the head; Bullying his way into confrontations with people and more down to earth scenes with the gloomy, Doreen (Leigh Cook), his niece and his brother's daughter while avoiding injury during a car chase. 

The scene with Doreen enables Carter to act as some sort of father figure as he attempts to take her under his wing; Giving advice as if it were his brother's own, about life and what to do with it and how it's important to stay on the straight and narrow - this is the life lecture of an action lead, which he gets on other occasions when talking to other characters States: "Of course it does" when it is said that revenge doesn't work and it is implied that there must be something to chase it.

The film sees Carter visiting a whole bunch of misfits, from Alan Cumming's techno-boffin Jeremy Kinnear to Mickey Rourke's porn king-cum-businessman Cyrus Pace, a man who consumes a lot of pornography, similar to Cain's version.

distributes, simply because it's 2000 now and this is the 21st century we've come into here, everything is done via computers and disc drives instead of 8mm film stock. I say the 1971 film was "Cain's version" but Michael Caine actually has a role here, that of Cliff Brumby, who you'll recall gets dumped on the side of a multi-storey car park in the old one by Caine himself I went. 

I'm sure the running joke about this at the time of its release was that Kane is playing the character he tossed aside in the original; Landing a role in the ill-fated remake of Get Carter Movie, has thus far sidelined his career. Luckily, it didn't have the misdirected effect on her career that it would have.

Snide jokes aside, the problem is that the Get Carter Movie remake is a dunderheaded, bits-and-pieces revenge action thriller starring someone who gradually becomes less and less interested as the movie progresses, that's only half the point. Is. 

It's also just too much all over the place to cover and there's a lot of wiggle room in whether or not it wants to pay more attention to the '71 version. 

While the film attempts to achieve some sort of dramatic flow to the ongoing proceedings, there will be a scene straight out of the original that will interrupt its course and make you go into your own: "Oh yeah, that's the part. " or "Oh look, that's how they're re-imagining this bit." 

Which is so distracting and so annoying, completely destroying any kind of dramatic weight the film might have carried up to the point concerned.

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