Get Carter: Critic Reviews

Carter, who goes to Seattle to hunt down his brother's killer, may have entered a labyrinth of evil, but his response to it ... is as hollow as it is monolithic.

The stylish murk seems to signal that everyone on the technical crew had his own agenda, each trying to outdo the others.

Stallone is so artificial, tanned and leathery you could replace his mouth with a zipper and sell him as a pocketbook.

Maybe it's all the rain and leaden skies, but instead of conjuring up the rueful mood it's after, the film mostly just plays dark, wet, and heavy.

Stylishly directed by Stephen Kay, the new Carter isn't half as bad as it could have been.

The result is Get Carter for dummies, the biggest ones being those who pay to see it. It's also an incoherent, irredeemable mess.

Moves along with virtually no rhythm, no suspense, and no spark from the morose, goateed star.

Stallone's Jack Carter can't shut up -- and his sentimental ramblings, accompanied by facial twitches that are apparently meant to approximate acting, are stupefying.

The flash cannot make up for the dullness of the script ... and Stallone's emotional immobility.

Isn't likely to satisfy either action buffs or the actor's fans.

It is not a terrible movie, and Stallone has appeared in far worse. It's just that, although diverting, it's too routine for its own good.

Stylized visuals add some spice, but they cannot overcome the formulaic and obvious screenplay, which is of no help to a film that is structured as a mystery.

The original Get Carter (1971) is better, but this is quite watchable as far as modern-era remakes go.

Is it a zombie coming to alert us it's time to start shopping for a Halloween costume? No, it's just our old friend Sylvester Stallone, sleepwalking his way through a stillborn crime drama that belongs in a morgue, not in a movie theater.

Muito falatorio e pouca acao.

A few gem scenes buried in the rubble.

Get Carter ultimately lacks the courage of its convictions: it can't stand to be thought of as the pulp it so clearly is.

Note to Stallone: Stop making movies!

Fraught with too many loose ends and a glaring lack of focus.

slow moving

If you strip the material of its ineffective level of performances, what we are left with is a concept that, at least at the core, is quite intriguing.