I really liked this movie, I know, I'm surprised too because the reviews were not too kind. But its sort of stuck with me over the last couple of days.Sylvester Stallone takes over the role Michael Caine played in the original 1971 British version as Jack Carter, a shiny suit wearing debt collector from Las Vegas who returns to Seattle for his estranged brother's funeral and is soon investigating the events that led to his death. He's a character I instantly felt sorry for, he's alone, lonely, obviously hates his life and everyone treats him like sh!t.The mood throughout is dark, violent and gritty with some interesting cinematography thrown in; jump cuts, strange angles and colour filters but there's also some good car chases, shoot outs and fight scenes. Stallone gets beat up real bad here by strip club owner Mickey Rourke.As a whole this film is pretty average but Stallone has a couple of moments where he amazes and makes you realize that he can really act when he wants to. He has several scenes with his niece (Rachael Leigh Cook) which are all quite strong but the one on the rooftop where she tells him what happened to her and he reacts is just astounding, probably one of the most powerful moments I've ever seen from Stallone as an actor.Alan Cummings also shines, Michael Caine has a cameo and randomly the soundtrack by (Tyler Bates) is quite decent as I watched this on the treadmill. *Vancouver as Seattle 4/6/16

Jack Carter is a mob enforcer in Las Vegas and heads back to Seattle for a funeral of his brother Richie, who has died under mysterious circumstances. The window of Richie's, Gloria isn't exactly thrilled to have Jack back into the fold for bailing on them for five years, but Jack gets on well with Gloria's daughter Doreen. Jack is willing to do whatever it takes to uncover the truth of Richie's abrupt death. The IMDb rating is about right for this one. I've never seen the original with Michael Caine, can't really compare the two. It's full of flash, glitz, grungy rock music, and style, but it lacks punch. I wasn't satisfied with Richie's story. We don't get enough background on the guy to fully care about why he died. It just felt kinda there, along with everything else in this movie. I'll give it this much, its slick, but it is rather easy to figure out. It's just cookie-cutter. There isn't a ton of action, but we do get a few dandies. A couple of car chases highlight this film and Stallone and Rourke have a nifty scrap as well, if a little one-sided. Jack Carter's reconciliation storyline with his family should have been much more riveting than it was. I should have seen a ton of emotion from a vulnerable family, but I didn't see a lot of it. Stallone's storyline with Rachel Leigh Cook is one of the most interesting things in this film and I wish we saw more of it. It could have elevated this movie a bit. The characters are so poorly developed. Sly is really good as Jack Carter. He's totally bad-ass and enjoyably tough. The sunglasses were a nice touch. He conveys his emotions perfectly. He has one great emotional scene as well. I wouldn't have messed with this guy. It just sucks that Stallone accepted quite a few projects that didn't deserve a man of his talents. When he has enough to work with, he's proved what he can do. Cook is solid as the daughter, I wish there was more of her. Michael Caine is wasted in a thankless role, but he adds pizazz to a throwaway part. Mitra is poor. Mickey Rourke is clearly trying to cash a quick check. Alan Cumming steals some scenes as a weasel. The ending is completely anticlimactic, void of any emotionFinal Thoughts: This felt otiose to me. I was never really bored, but I wasn't all that entertained either. Action fans will be disappointed by the lack of action, but fellow Stallone fans will love his performance. Check it out on a gloomy day and then forget it even exists. It's that type of film5/10

A Las Vegas "fixer" (Sylvester Stallone; those who don't pay their debts when expected are greeted by this enforcer) returns home to Seattle after a considerable absence upon the knowledge of his brother's death. While on its face, the brother seemed to have been drunk behind the wheel and hit a tree, it turns out after some investigation that the crash could have been a ruse to cover up shady activities.A bartender, a porn "businessman" (Mickey O'Rourke; a real sleaze in this film) perhaps hooking girls out of a club he runs, a Harvard-educated computer whiz (Alan Cumming, in a rare straight role; he's a real weasel, always whining and pee-in-his-pants scared), and a pub owner (Michael Caine, who deserved a bit better than this underwhelmingly limited supporting part, considering he was the star of the original this film was inspired by) all factor into the results of Stallone's investigation. Meanwhile, Stallone's Vegas boss wants him back regardless of the investigation into his brother's murder. Gretchen Moll, the boss' mol, had been having an affair with Stallone, while the always-awesome John C. McGinley (making the most of a small role; most couldn't take the scraps he's given and make them a full course meal like John does here) shows up in Seattle to inform Stallone that the boss insists he returns no questions asked. Of course, Stallone isn't about to leave Seattle until those responsible for his demise are brought to justice (his brand of justice, of course). There's always somebody trying to thwart the investigation, and Stallone remains determined to see the course, with lots of car chases (and, especially, crashes), leveled faces from heavy punches landed, and quivering punks about to crap their pants. Personally, despite a lot of flak this remake has endured, I think it isn't too shabby actually. Stallone, when inspired, can deliver a good performance. He could always crack wise and look all muscled in Demolition Man or Tango & Cash (both of which are pleasures I can enjoy all the time), sending up his action star image, but when required, he had the pathos and wherewithal to apply his acting skills when the right role came along. Like something totally critically maligned (and less regarded) such as Eye See You, or even critically lauded by not as popular with the public (Cop Land), Stallone seemed on his A-game. Even the disaster film, Daylight (which I think should be re-evaluated by all of Stallone's fans; I think this is a good one that could find its audience), was an outlet for Stallone to flex his acting muscles. In Get Carter, this part asks him to portray a damaged character with a not-so-glamorous rep. In fact, his brother's wife, played by a rather wasted Miranda Richardson (her caliber of an actress seems miscast in an action thriller), doesn't even want him around while a young Rachel Leigh Cook (you know, I rather like her the more I watch her; some of the teen stuff she wasn't that challenged, but here is a part that is tough, playing such a girl surrounded by corruption and evil) confides in him because there's no one else around to listen. I think the best acting bits are between Stallone and Cook; here, the vulnerable side of the roughly-hewn, stewing, anger-seething Stallone is visible, while Cook can let down her guard and speak openly with him. A CD containing recordings of a drug-induced rape of a minor and a hooker (Rhona Mitra, simply stunning, even as she's glammed down into trampy dresses and make-up) the dead brother was involved in an affair with both could shed light on the false car crash and its purpose. With intense exchanges between O'Rourke and Stallone, which soon lead to fisticuffs (first, O'Rourke gets the better of Stallone, but later the results are reversed), and a shifty Caine who seems to be hiding something (he just has that way about him that can't be trusted) provide some intrigue in the film. I wasn't a fan of the photography (a lot of close proximity, in-your-face shots, and the camera rarely holds still very long) in the film, nor was the editing style much to my liking (I prefer compositions to last past two seconds), but Stallone's star appeal (and charisma), as well as, his sincerity in the developing storyline held my interest. If he cares in the part, it shows. It sure as hell did in Cop Land; I think, while his career was starting to decline as the 90s made its way into the early 2000s, he had some of the best performances since the early days when Rocky announced him as a major star.

Jack Carter left his Seattle home to become a Las Vegas mob casino financial enforcer. He returns for the funeral of his brother Richie' after a car crash during a storm. Talking to daughter Doreen, Jack suspects it was murder. Cliff Brumby, whose club Richie ran, is financially linked to porn and prostitution baron Cyrus Paice, who claims to be just a front-man for IT tycoon Jeremy.After Jack finds a CD, containing images of Doreen, Jack goes after the lot of them...I've always had a fondness for this movie, but then again, I've never compared it to the remake, just as a stand alone Stallone vehicle.And it works this way. Compared to the original, it's just a remake by name, and loosely on the story, nothing else.Stallone is good in his role, but he especially shines when he shares scenes with Leigh Cook, the two of them have some real chemistry, and gives the film a more humanistic feel to it.There are some strange, but effective direction styles, especially when Mcginley is on screen, different alternates to situations and lines repeated in different manners, odd but strangely compelling.The rest of the cast support Stallone well, and make the film that little bit more classier than it should be, but all in all its a solid movie, pointless remake.If your a fan of Stallone, see this, it's really not as bad as the naysayers.