Action thrillers set in a setting where a mysterious disease is spreading like wildfire among the general public is nothing new in South Korea. A number of other films depicting breathless law enforcement and an uncontrolled environment have been influenced by COVID-19. Byung-Gil Jung’s continuing action extravaganza, Netflix Original Carter, is the most recent Korean example of this well-known cliche. Byung-Gil Jung’s film is kind of a John Wick meets Train to Busan meets Kate knockoff with just enough Resident Evil thrown into it.
The plot is a random amalgamation of the aforementioned titles, but the battle scenes are well handled and the stunt choreography is top notch. The only reason to watch Carter is for the 360-degree shots, whether it’s melee combat, weapon discharges, chase scenes down busy streets and lonely train tracks, warfare in the jungle or long distances. – excluding air assault (plane and helicopter). These shots were created by the action directors, stunt coordinators, and stunt people who worked on the production.
In addition to the crazy but remarkably realistic (for the most part) action, the cinematography is, as one might imagine, quite exceptional. There are parts that make you feel like you’re right there with our protagonist, taking down the advancing horde one body at a time. Temporary amnesia, a microchip in the brain, loyalty to one’s country, family ties, parental duty and sacrifice, multinational conspiracy and espionage, and a strange disease that triggers this spiraling madness, don’t are just a few of the absurdly intertwined elements. In history. The genre of the film is treated without restraint, which overshadows the uninspired and unimpressed narrative.
It’s not a particularly clever vision, to begin with, but I guess that wasn’t Byung-Gil Jung’s intention. A man discovers he’s lost all memory when he wakes up in a bloody and bruised hotel room. He tries to answer questions like how he got there, who he is, and why the CIA is on his doorstep. What’s worse is that he receives survival instructions from an audio gadget buried deep in his ear. He does not remember the woman’s family, but she warns him to trust her or his wife and child in North Korea will be in danger.
He accepts his identity (Carter Lee) at face value and follows the voice’s instructions since he seems to have nothing to lose. He gathers what little he can along the way, but the bad guys arrive in droves and quickly (leaving him with little alternative but murder or be killed). Both Korea and the United States have been infected with an unidentified deadly virus known as DMZ (Korean Demilitarized Zone).
A prominent Korean epidemiologist discovered a cure thanks to his granddaughter, but he has since disappeared. As rumors of a destabilizing coup circulate, the South and the North accuse each other of defamation. To safeguard its own interests, American intelligence intervenes. The child comes first. But where is she ? Where is the doctor? An untrustworthy voice in Carter’s ear, a voice he’s been skeptical of from the start, leads his suicide spy operation to track down the girl and bring her to North Korea.
Carter doesn’t even give you a minute to catch your breath because the action is so uninterrupted it feels like an assembly line of fight moves. Writers and directors know their work well in this regard. And they effectively capitalize on what works. The film has a weak story that borrows from a number of other films with a similar theme. You’re going to be incredibly disappointed if you focus too much on this rather than Carter’s overt daredevil. The best thing to do, in this case, might be to relax and let things happen naturally!
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