Get Carter


Action / Crime / Thriller

Rotten Tomatoes Critics - Certified Fresh 89%
Rotten Tomatoes Audience - Upright 85%
IMDb Rating 7.5 10 26225


Uploaded By: OTTO
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April 10, 2014 at 03:21 AM



Michael Caine as Jack Carter
Britt Ekland as Anna
Alun Armstrong as Keith
720p.BLU 1080p.BLU
815.30 MB
23.976 fps
1hr 52 min
P/S 2 / 1
1.65 GB
23.976 fps
1hr 52 min
P/S 2 / 23

Movie Reviews

Reviewed by malcolmi 9 / 10

Mike Hodges and Michael Caine have made a timeless film.

Jack Carter, the reserved London gangster, travels north to Newcastle, his home town, to find the cause of his brother's death. He's warned by his bosses not to go, but refuses to obey them. We, and he, discover the reasons for the warning, which are intertwined with the details of his brother's fate, and watch Carter's quest for revenge reach its logical conclusion. The underworld life sets a kitschy vision of glamour - music-box decanter sets, flashy bespoke suits, and garishly decorated villas - against the grotty reality of arcade slot machines, pornographic 8mm films, and the claustrophobic grubbiness of Newcastle's industrial tenements. Carter, who prides himself on a style of detached shrewdness, navigates both worlds, until he discovers that they're intertwined, sickeningly. The corruption which provides him his living has tainted his own family. I think the centre of the film is the brilliant moment when Carter sits in bed in the flickering light of a projector, discovering the truth about his world. He weeps, silently, knowing what he must now do. But vengeance is all he knows, and it consumes him.

This story captures with great subtlety the coarse truths about poverty, and crime, which are as true today in Canada and the US as they were forty years ago in England. There's no heroism, no loyalty, no glamour. We feel a kind of sorrowful revulsion at the squalid reality of Carter's world, even as we fear the intensity of his quest for his brother's killers. And we realise we've seen a perfect film of its kind - exceptionally skillful acting, cinematography and editing, bringing to life a taut script. Never again will we fall for the false romanticism of crime.

Reviewed by MisterWhiplash 9 / 10

a nasty bastard of a movie with a steel-eyed, cold but brilliant performance in the lead

Jack Carter is not someone you'd usually want to take home to your mother. He's a career criminal, a gangster in London whose brother was in Newcastle (his hometown) when he found out that he died under mysterious circumstances. Already we're on his side, since it was obviously not a typical drunk-driving accident that caused Frank Carter's death, and we want to see revenge and/or justice. But Jack Carter, that man with a near-permanent dour look on his face and a tendency to get violent, isn't a typical protagonist. He's something of an anti-hero, a nasty one at that, who is a perpetual womanizer (in one oddly hot scene he talks with a direct tone on the phone with a gangster's moll to take off her clothes and masturbate), and will hurt anyone he needs to, sometimes to extreme lengths, to get what he needs to know.

Certainly he's surrounded in a murky enough criminal environment. The Newcastle of 'Get Carter' is a place with sleazy gangsters betting big bucks and nightclubs with of-the-period music, and women running hotels with weathered looks on their faces. It's here that Carter goes on his investigation, like a hard-boiled detective without mercy. And as he digs deeper into what is at the heart of the mystery- that Frank Carter wasn't a saint, but got duped by the criminal elements and in a pornographic film that brings Jack to tears of rage- it becomes clear he'll have to knock a few heads, and shoot when he must... which is a lot.

Carter might be more unlikable if not for the star in the role. Michael Caine has a look to him in this film that recalls Alain Delon in the Jean-Pierre Melville pictures, specifically Le Samourai. Nothing can really flinch this guy, unless it's something that he actually cares about. But Caine gives humanity to a character that is on the move, almost always, and has to be on his toes when around unsavory characters. I loved seeing how Caine can just be great at looking around a room or a situation or looking over a person, and how when he gets angry, boy you better get out (even if, or sometimes especially because, you're a woman not dishing on what needs to be told). Caine helps a film that needs that star quality- other actors like John Osbourne as the Big Gangster Kinnear and Ian Hendry as Eric do well enough if only good performances- and where the film digs into some subversive, dark terrain, we have to keep watching it to see how Caine can pull it off.

Another perk for Hodges is how he deals with the action. Often his film will feel a little slow-going (never too boring, but of a time period, the 70's, when a story could take a little more time in establishing mood), but when action and violence come up it's genuinely shocking and thrilling. We expect to get some satisfaction seeing Carter getting his payback at the criminals, but here there's a dastardly twist as to how just rotten Carter can be with these figures. He goes to their level, and Hodges lets us go along for the wicked neo-noir ride. Some may find it too dark, or just a little too unrelentingly bleak with what Carter finds and how he gets his revenge. But there's the bittersweet part to it as well, especially in the last act, that makes it worthwhile.

Reviewed by gavin-62 10 / 10

Masterpiece of intense drama, with hidden depths

"Get Carter" is often said to have inspired the current crop of British gangster films. If this is the case, Guy Ritchie et al must have well and truly got the wrong end of the stick. I haven't actually seen "Lock, Stock and Two Smoking Barrels" or any of the "Right Royal Cockney Barrel O'Monkeys" type films which followed it, but I get the impression that these are merely dumb entertainment for "new" lads. In contrast, "Get Carter" is unremittingly bleak. If Samuel Beckett wrote a gangster film, it might come out something like this. The grim Newcastle locations add to an atmosphere of decay and despair. The naturalistic camera work avoids cliches and adds effectively to the atmosphere. Long, static shots give the impression of actually being present as a bewildered bystander as the gangsters go about their "business". Although the long tracking shots of people walking/running are almost pythonesque at times, this only serves to emphasise the down to earth realism of the film. After all, even violent gangsters have to go through banal routines such as walking down the street. The score is minimalist but very effective, in contrast to the modern British films which seem to be conceived as a gravy train for music publishers and second rate "indie" bands.

There are few, if any, sympathetic characters. Jack Carter, the central character, is not at all pleasant or heroic. The only people for whom he shows any affection are Frank and Doreen, and he is unable to express this affection except through money and violence. Keith thinks he is Carter's friend, but when he is let down and beaten up he realises that he is being used. Carter does not appear to love Anna, and it is not certain whether she really loves him, although there is a genuine sexual attraction between them. Carter belongs to a misogynistic and hypocritical culture which the film scathingly exposes. The only scene in which he shows any genuine emotion is when he discovers a porn film featuring his niece, Doreen. The cruel irony is that in the opening scene, he was seen looking at dirty pictures with his cronies, and his disgust must be partly directed at himself even though he refuses to acknowledge it. He then expresses his shock and outrage by going straight upstairs to assault and humiliate the nearest woman! And she just happens to have appeared in the very same film as Doreen: a clear case of men projecting their own sexual guilt onto women. The makers of the film cannot have been unaware of the implications of this sexual hypocrisy. The scenes are deliberately juxtaposed to emphasise Carter's ambivalence and double standards.

The certainties of a linear narrative have been bravely eschewed. Carter is only able to react to events which are beyond his control and is sometimes led up blind alleys, taking a long time to realise what is really going on. This, again, is realism at its best. Real life does not have a coherent plot and nobody has complete control over their own life. Carter's lack of control is a central theme of the film. He likes to think that he is big, hard and clever, but his acts of revenge are ultimately pointless. Like Frank Machin in "This Sporting Life", he is emotionally shallow and able to express himself only through futile acts of aggression. He is cruelly exposed in the final scene as the smile is wiped off his face, the closing shot of the sea emphasising man's powerlessness.

The film also contains elements of social comment and class politics. Frank is portrayed as a decent, honest, "salt of the earth" working class type, while the slimy and sinister Kinnear has a chauffeur and lives in a big house in the country where he hosts decadent orgies. These themes come to the fore in the (often overlooked) funeral scene. As Frank's small cortege pulls through the gates of the crematorium, we see an endless stream of cars leaving from the previous funeral. The message is that the "liberation" of the 60s brought few practical benefits for working class people in the north of England. Again, this relates to the dominant theme of control, or lack of it. The "swinging 60s" are exposed as a dead end of pointless hedonism. The extent of women's liberation is also questioned. "Get Carter" portrays a society in which women are not at all liberated except in a few superficial ways. The female characters in the film are all victims, owned and used by men who see them as sex objects and little more. It is implied that the sexual freedom brought by the contraceptive pill has benefited men more than women.

It's not all angst and depression though. There is some good fighting, swearing, shooting and dangerous driving. There are also many subtle touches of black humour. Nevertheless, this is not a mindless action film. The consequences of violence are never ignored or glossed over. We are shown Keith lying on his bed in agony after getting a severe beating, leaving us in no doubt that his brief flirtation with gangsters has ruined his life.

"Get Carter" is a masterpiece, although it will not be to everyone's taste. If you want non-stop action, try a mindless Arnold Schwarzeneger film. There is nothing for you here. However, if you are prepared to approach "Get Carter" with an open mind and think about it rather than be a passive observer demanding to be entertained, you will find a rewarding work of art with hidden depths. Forget Guy Ritchie. The only worthy successor of "Get Carter" is Neil Jordan's "Mona Lisa", which addresses similar themes and is equally bleak and disturbing.

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