A classic British gangster movie. Michael Caine is a gangster named Jack Carter who seeked revenge - on someone who killed his brother. Caine is a perfect actor to do this movie. He gave an electrifying performance as a cold, ruthless, and angry gangster. Mike Hodges' direction is amazing in his first feature film as a director. In my opinion, Get Carter is one of the best movie of 1970's. Absolutely classic!
"What would Jesus say?" Well, I guess, Jesus wouldn't approve it. And this is exactly, what Jack Carter does not. No endorsement. No, not at all. Cool. Very cool. This is all about betrayel, child abuse, sex, drugs & revenge. 'Jesus' strikes back. Overall, the look alike, compared to the US is a bit 'amateurish'. And, the 'king of cool' title is, still, occupied. Good, but not good enough. Solid. 3,5 stars.
On the surface, a post-modern transposition of a typical American crime drama onto the atypical landscape of England's bleak industrial north. The grit & grime of the place infects & infuses the standard film noir conventions with a level of violence & depravity rarely seen. However, beneath this surface, the film offers an insightful study on the futility of vengeance; as death stalks its characters, like a shadow.
There's a reason Michael Caine is Christian Bale's butler. After getting pinched with a rap sheet a mile long he had to strike a deal, and that entailed witness protection in America. Cleaning up after Batman allows him to vicariously relive his violent glory days. Ray Liotta could only have dreamed of such a sweet deal.
I'm used to seeing Michael Caine as the polite, mild-mannered gentleman, but damn does he pack a punch in this. I expected something a little lighter too. It's a pretty bleak film, especially the second half when Carter goes on a rampage. Loved the shots of North East England too. By the time the movie ended I felt drained, but in a good way.
an early entry in the 70's-tough-guy-nihilism sub-genre, noteworthy for some inventive atmosphere and an unusually miserable narrative. beyond that, this isn't categorically different from all the 80's crapola that followed once you look past the new-wavy editing. at the end of the day, it's another hateful authoritarian fantasy - with just enough arthouse gravy to dupe you into thinking it's profound. disappointing.
One of the finest British films I've seen. Stylization in Brit movies is usually so overdetermined; here, the high angles, fragmenting montage, and expressive compositions have a sense of whimsy and exuberance--and still it's all of a piece. Early New Wave playfulness meets dour 70s naturalism.