2022 ‘카터’ Directed by Jung Byung-gil
Carter, who awakens two months into a deadly pandemic originating from the DMZ that has already devastated US and North Korea. He who has no recollections of his past finds a mysterious device in his head, and a lethal bomb in his mouth. A voice in his ears gives him orders to avoid getting killed and he's thrown into a mysterious operation while the CIA and North Korean coup chase him close.
Joo Won Lee Sung-jae Jeong So-ri Kim Bo-min Camilla Belle Mike Colter Jung Jae-young Jung Hae-kyun Yeo Dae-hyun Gina Theresa Williamson Byeon Seo-yoon Maurice Turner Jr. Andreas Fronk Wang Jong-myung Foster Burden Shin Woo-hee Lee Ga-kyung Salim Benoit Enrico Dennis Christina Donnelly Simon Rhee Jason Scott Nelson
คาร์เตอร์, Kateo, カーター：2022, كارتر, Κάρτερ, קרטר, カーター, 카터, Vocea lui Carter, Картер, 救命卡特
Epic heroes High speed and special ops Monsters, aliens, sci-fi and the apocalypse Martial arts and intense combat Explosive and action-packed heroes vs. villains Fast cars and adrenaline-fueled action Thought-provoking sci-fi action and future technology Zombie carnage and survival horror Show All…
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not a real movie; like if you tried to direct a film but your only camera was google streetview. gave me such a terrible headache to watch, half of the shots here look like the most garish greenscreen conceivable and every actor only exists to provide near-constant exposition; nothing here has emotion, everything is mechanical and inhuman and banal. i will not mince words: fuck this generic videogame crap, fuck the fetishization of one-takes, fuck everything about this. not exaggerating when i say that this is one of the worst things i've ever seen, if not the worst.
A man wakes up with no memory. Hundreds of people want to kill him. He goes on the run, and in the process, kills about about entire country's population.
And it's all shot in one long fake take.
Okay.
What is the value of a fake long take?
A filmmaker can use a long take to show off, draw attention to themselves or utilize it as an element of suspense. Or, and this is rarely the case, it's in the service of limiting storytelling opportunities, which in turn, demands the filmmaker to constantly have to think themselves out of a box.
By choosing the long take style of filmmaking, Writer/Director Jun Byung-gil (THE VILAINESS) forces himself to find the most…
As certifiably bonkers as you've no doubt heard, and moment to moment pretty exciting. I can only imagine how it would be if it didn't look mostly like shit or had, like, even the pretense of continuity or narrative sense. Feature or bug, you make the call.
Wenn es noch 2012 und das hier ein YouTube-Kurzfilm von Devin Supertramp wäre - hach, was würde ich feiern. Dummerweise ist „Carter“ ein ernst gemeinter Langspielfilm, der sein zentrales Gimmick über zwei Stunden lang bis zum völligen Verschleiß auswringt - ein „ungebrochener“ Longtake, der vorwiegend in den ausufernden Kampfszenen zur Geltung kommt, aber natürlich auch Parkour, Stunts und wilde Kamerafahrten beinhaltet.
Für diesen Effekt opfert „Carter“ wirklich alles - Glaubwürdigkeit, Immersion und Übersicht stehen alle hinter den Kameraspielereien zurück. Die Story wird wie üblich (Hardcore Henry, 1917) auf das Wesentlichste vom eigentlich völlig Unwesentlichen reduziert. „Carter“ klaubt sich alle möglichen Szenarien und Plotpoints aus besseren Filmen zusammen, ein bisschen Zombies, ein bisschen Spionage, Gedächtnisverlust, ein entführtes Kind, das eskortiert werden…
"How the fuck did they get that shot?": The Movie. Never in my life have I seen a movie with such disregard and frankly distaste for established filmmaking rules and techniques. Every shot and editing choice exists to piss off film school graduates for how unconventional and on paper impractical they are. Every aspect of what we now collectively perceive as "filmmaking" this movie stares squarely in its eyes and says "Fuck. You." Whether that’s a good thing or bad depends sorely on who you ask but if you ask me I say "Fuck. Yeah." Give me all that CGI-enhanced Neveldine/Taylor/Joseph Kahn brand of absolute NONSENSE that money can buy. Give this Jung Byung-gil guy a Michael Bay budget and watch the world loses its mind.
A deranged two-hour kaleidoscope of good-bad-insane-gotta-admire-the-indulgent-ambition mayhem. Plot stripped down to the thinnest gossamer holding together an unhinged cascade of maximalist set-pieces, captured by an unbounded frame that treats a faux-one-shot approach not as a means of immersion but as stylistic artifice allowing for impossible rollercoaster camerawork.
Jeong Byeong-Gil’s debut Confession of Murder was a bonkers send-up of Korean serial killer thrillers, and Carter does the same for the Korean spy film, Korean Taken-inspired one-man-army film, Korean zombie film, and a medley of other genres mixed together in a hyperkinetic ACTION-adventure whirlwind. Calling this the Korean Crank, Shoot Em Up, or Hardcore Henry is a ballpark summary but still doesn’t entirely describe the outrageous vibe. Story? Characters? Acting? Logic? Physics? Pacing?…
I could probably go the rest of my life without seeing another stitched-together faux one take. Having said that there’s an undeniable manic creativity in some of the action sequences that I have to respect. Take a drink every time a body goes flying through the air.
this film tries to be so badass by being one-shot but you can easily tell when each scene cuts which make it quite frustrating to watch. you can simply notice when it switches to handheld, a drone and to CG with some of the shitty digital editing. couldn't even have fun with the thing because of that specifically.
besides that, the action wasn't anything special although it tried to be more bloody than any blockbuster films out there at the moment but the plot wasn't that interesting too. just another ordinary forgettable netflix release.
a sequence in here also tries to mimic the oldboy hallway scene....
It’s like the director of THE VILLAINESS was given the money to do 15 pounds of cocaine and then make his own coke-fueled version of Crank, with handheld, drone shots, and GoPro/POV shit included.
Pure unhinged maximalism. The most movie of the year.
I can't even rate this after 30 mins I had enough. The sensory overload was way too much and I just couldn't physically take the jerky camerawork as it tried to hide the cuts in this fake "One Shot" gimmick of a movie for a single minute longer! After the insane motion sickness-filled opening 10 mins it appeared to be settling down when the hot Asian assassin started a mass naked braw but not long after Jung assaulted my sense once again causing me to almost throw up! I was done after that. I appreciate he was crazy enough to put action above anything else be it story, logic, or the viewers well being - but in the end, I found this just unwatchable.
Let me make this perfectly clear. CARTER is not a good film. The story is trite, the script is a mess, the CGI is slipshod and the plot is needlessly convoluted.
However, the sheer audacity throughout its 132 minute runtime is exhilarating and laugh-out-loud funny that I had an absolute blast from beginning to end.
The stunts are so goddamn ridiculous, I sat there with my head between my knees, in absolute awe as to how undisciplined and unhinged the action was. Viewpoints change in rapid succession as it goes from drone camera to hand-held camera to POV camera while the genre of said action flick goes from kidnapping to chase to survival horror and so on.
It may be the funniest film of the year for me.
⚠️50%
2022 list - Click HERE
YouTube video review - Click HERE
Thrown straight into a dangerous mission with none of his memories intact, a man must escape death while trying to figure out who he is, how he ended up here, and who is the mysterious voice in his ear calling him "Carter"?
Carter is a prime example of going overboard with a concept. It is important to appreciate the craft on display and commitment to the choreography, and Carter does both of these things well, but there is only so much you can take without compelling characters. It is also an example of not knowing when to slow down. Because the film attempts to go for a one-take feel from…
