review bursting from Netflix’s kneecap

Most Powerful Netflix

Since 2016, when the famous red N was founded in South Korea, the streaming giant has added about 130 local programs to its catalog. Originally reserved for a connoisseur public, these productions were nevertheless moved to the front of the stage after the arrival of the small event. Squid game. Accounting for no less than 1.7 billion viewing hours after its first 28 days of operation on the platformthe series produced by Hwang Dong-hyuk has successively awakened a new appetite among the general public for South Korean programs.

Of course, Netflix decided the opportunity was too good to pass up. In 2021, the streaming giant announced that it will invest no less than $500 million in original content creation, and that it is committed to broadcasting, in 2022, 25 local creations. Zombiesque We Are All Dead to adapt to Money Heistwhich passes through the detonator Yaksha – A demon on a missionSouth Korean series and films have therefore gradually invested in the platform since then.

In the car, Simone

Surely this sudden love for the land of morning calm primarily driven by a well-thought-out business strategy. Mercantile motivation aside, this new Netflix investment in South Korean culture nevertheless has the merit of giving pride of place to the country’s diverse cinematography. And while the main focus is on the series to imitate the success of Squid gamered N also wants to make two feature films, including Jung Byung-gil’s ultra-violent new baby, Carter.

Carter: photo, Joo WonWe agree, there are better alarm clocks

action man under flakka

The influence of henry is hardcore of the Korean filmmaker has been widely observed from his previous film. In fact, the opening sequence of The Evil there refused without too many deviations from the concept of the film of Ilya Naishuller. Apparently very pleased with this exercise in style, Jung Byung-gil decided take the maneuver to its peak to make better use of its 132 minute duration Carter.

Shot in (false) successive shots, the film is part of the legacy of other similar proposals: we are of course thinking of The rope by Alfred Hitchcock, bird person by Alejandro González Iñárritu, or even the latest 1917 by Sam Mendes. So fantasy is nothing new, but the dazzling evolution of the various arrays of digital effects has made the matter more accessible to filmmakers with enough sophistication to tackle it.

Fortunately, Jung Byung-gil is not lacking in drunkenness, and devotes himself to acting with joy and wit. But if the result is happy, Unfortunately, it quickly found its limits.. In fact, the shot-by-shot direction has the merit of offering a stimulating visual experience: the film thus connects non-stop boxing sequences, stunts to make Tom Cruise drool with envy , azimuth chases and other explosions of all kinds. However, the general is often underread, when it’s not just simple mind-numbing.

Carter: photo, Joo Won

Movie VS viewer

Carter however it benefits from an anchor point that clearly defines its central character. But who really leads the other? Does the camera really follow Carter’s actions, or does it impose its own preferences on him? From steadycam to subjective shots, it’s hard to ignore the video game influences addressed in the footage. henry is hardcore has shown, the assimilation of a playful language in cinema is not without interest, on the contrary.

The problem is that in the case of Jung Byung-gil’s footage, the method is so paroxysmal that the viewer has more. the feeling of watching a non-interactive demo rather than a real movie. A confusion that is further crystallized in the endless way of the footage of an unknown voice-over, which drives each of the actions of his character.

Carter: photo, Joo WonReady Carter One

no memory of the murder

Sure, Carter good action movie. Thought like a supercharged cocktail mounted like an epileptic trip, the movie confirms the bold specifications completed by its director. But that’s to be expected. In fact, like its predecessor The Evil, Carter certainly does not shine in its script. The plot thus gradually fades away until it becomes a vague backdrop for the viewer, who remembers it only occasionally.

However, the film seems to have the heart to raise various economic, social, or even political issues by dealing especially with both Korea and the United States. However, his narrative scheme (if there is one) is too convoluted, too different to really get his point anywhere. result a lost intrigue thatdespite an ultra-simple starting premise (a man wakes up with amnesia in a hotel room and finds himself forced to undertake a mission at the risk of his life), andmakes more road trips than 38 tons on a country road.

Carter: photo, Joo WonThe narrative structure of yarn pieces

In the end, it seems the filmmaker is more inclined play adrenaline dealer by betting on the unique aspect of its performance rather than simply saying something. A sense of priority that later produced an exciting group, all brought to an audience by actors with questionable abilities. Only the lead actor, Joo Won (Good Doctor, Alice), managed to stand out from everything in this beautiful world. The latter thus wastes himself in the action and exhausts himself as much as he can to give the least substance to the short standard given to him (it is a wonder what demands of him the most effort).

In all, Carter not a bad experience in itself. Loud, violent, and very flirtatious, the film has no desire to pretend to make great cinema. Sequestering the viewer in the drum of a washing machine launched in an intensive cycle is not enough to fully enjoy, however, and the filmmaker may have an interest in changing some of his ambitions downwards.

Carter will be available on Netflix starting August 5, 2022

Carter: poster (2)

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