Netflix’s ‘The Carter’ makes ‘The Gray Man’ sound like a children’s play

There are thousands upon thousands of action movies out there, however, almost none that offer the sheer hoopla of gonzo. Carter, a film of the kind with showmanship that, with each successive plot, feels like it actively shames its fellow genre mates. Former South Korean director Jung Byung-gil the villain It was his own masterpiece of brutality, and from a purely technical point of view his latest work is so impressive that it definitively establishes the author as the king of inventive madness. If you subscribe to Netflix and enjoy your mind constantly for two hours or more, then this import is for you.

Carter (Now Available) is about Carter (Joo Won), an imposing man who wakes up in a hotel room with amnesia and a strange cross-like scar at the base of his neck. He’s also on a bed covered in blood surrounded by a squad of CIA agents who want to know what he did to Dr. Jung (Jung Jae Young), a scientist who was in the hostage video Carter sent to Yank. Dr. Jung is of international importance as he is on the verge of developing a vaccine for the zombie outbreak that will wipe out both North Korea and the United States. Young’s infected daughter Ha Na (Kim Bo Min) is immune to this viral plague and, thus, the key to his treatment, and Carter – who learned his name from a mysterious voice in his head who turns out to be Han Jong-hee (Jeong So-ri), a North Korean agent – is tasked with By getting the girl back so that North and South Korea can continue their joint efforts to end this nightmare.

Despite this relatively straightforward summary, as well as the familiar faces of US stars Mike Colter and Camilla Belle, Carter It is not a straightforward narrative anecdote. Screenplay by Jung and co-writer Jung Byeong-sik parses the show into a fast-paced segment while keeping the true nature of Carter’s identity and loyalties blurry—an attitude that is in keeping with the film’s desire to remain steadfastly wedded to the protagonist’s perspective, and experience, at all times. We’re at a loss for him, not to mention the shaking and confusion during the skirmishes that left him wounded and battered. From jumping out of a hotel window, to battling hordes of enemies in the shower (dressed in nothing but G-strings), to racing away from pursuers on a motorbike, the action got off to a stinging start, it was all captured by Young. An unrivaled camera, so distinguished by its acrobatic prowess and creativity so off the charts, that it deserves a Special Achievement Academy Award, if not a Nobel Prize for historic-changing innovation.

Carter Fly in, over, under, and through cars and trucks at a brisk pace, navigate city streets and narrow lanes with drone-enabled freedom, and flip between third-person and first-person shooters with an adrenaline rush. Furthermore, Jung’s film was created as a solo pseudo-issue, using a set of secret mods to tie its scenes together in one uninterrupted journey. These seams appear, just as the director’s CGI effects — of green screen backgrounds, explosions, and constant feats of supernatural power — are clearly fake. So is the sheer movement of Jung’s camera, which chooses not fluidity but the digitally swaying/squiggling/squeaking/rising quality that is a byproduct of post-production manipulation. However, the artificial is purposeful. Young craves the hyper-realism of video game scenes, where the laws of physics (and the limits of traditional cinematography) are disregarded in favor of perpetual motion, persistent hyper-violence, and stunning aesthetic boldness.

Carter He does many impossible things (human and filmmaking) that prove to be an exercise in pure, unbridled prior taste. Hanging from planes, trains, taxis, and military helicopters, Carter is a muscular and at the same time rubbery man of chaos defined not by his (empty) personality but by his actions, which also involve jumping between various motorcyclist attackers during a frantic chase on the highway, battling with an enemy trying to rescue Ha-na while free-falling (without a parachute) from an exploding plane, and eventually crawling around the helicopter as it does 360-degree flips and vortices and another angry opponent trying to blow his head. A blitzkrieg of battles, gunfire, vehicle buildup and carnage that moves at breakneck speed on the frontier, yet periodically plunges into slow motion to provide a better view of its carnage, it’s akin to the greatest acid ride in an action movie ever.

A blitzkrieg of battles, gunfire, vehicle buildup and carnage that moves at breakneck speed on the frontier, yet periodically plunges into slow motion to provide a better view of its carnage, it’s akin to the greatest acid ride in an action movie ever.

It doesn’t matter Carter Routinely difficult to decipher; Her crazy style is the core. Official fantasy flows from its bloodstained pores, so much so that even nods reverence for Hollywood influences – including matrixAnd the Indiana Jones and the Temple of DoomAnd the Breaking point (not limited to three) —play like raving remixes. With Carter commanded (i.e. controlled by) the mysterious female in his ear, and given that the details of his propulsive mission are less important than the suspense of his ongoing encounters, the film appears as a live PlayStation title. pimples for life. And if its flourishing doesn’t make logistical sense—whether it’s Carter and his cohorts defying gravity with every jump, somersault and fall, or Carter (and the audience) spying on a conversation taking place at a remote base via a sniper rifle telescope—it’s so inspiring and fascinating that it doesn’t matter.

Although he occasionally pauses to catch his breath (and to deliver more complex dialogue to nervous viewers), Carter Exhausted in the best possible way, she grapples and makes her way into even crazier scenarios. Young must have taken years to choreograph the cinematic choreography and countless physical maneuvers that this project entailed, leaving one longing for a comprehensive behind-the-scenes video of the lengths the director has taken to realize his crazy dream. However, at the same time, the charm of this obsessive film is its ability to cope with its inauthenticity and still be amazing by performing stunts that, on the surface, would not be possible with real flesh and blood humans. In other words, I don’t know how the hell he did almost any of it, but I know I’ll be watching it again soon.

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