Every holiday season sparks an inevitable debate about what constitutes a Christmas movie. Must a festive theme around December 25th be a necessity throughout? Is a prominent heartfelt message at the film’s core a requirement, or is a Christmas tree engulfed in snow the bare minimum to wish for? Carry-On has been cunningly marketed as a Christmas-Action movie starring Taron Egerton’s (Kingsman), capitalising upon the loose definition of such – despite having little connection to the season outside a December 24th timestamp. Ignoring this debate, Carry-On is a heart-pounding one-way ticket to the classic action genre that the early 90s would be proud of, flawed but succeeding just enough to be welcomed as a thoroughly enjoyable entrant to an ever-expanding Netflix library.
Christmas movies aren’t typically associated with gun-slinging action, outside of the long running joke about Die Hard’s (1988) status as such. In Carry-On, Taron Egerton (Sing) plays unambitious TSA Agent Ethan Kopek, who has become accustomed to a life of stagnant mediocrity. Upon the discovery of his girlfriend’s (Sofia Carson) pregnancy he gains motivation to better himself, immediately succeeding in a promotion. However, his first day finds him at the centre of a violent plot orchestrated by Jason Bateman’s (Arrested Development) eerie character, ‘The Traveller’. He threatens the life of Ethan’s girlfriend, only promising her safety through the achievement of smuggling a dangerous package through airport control.
On paper, Carry-On should be a largely forgettable entry into the filmography of its well-known leads, yet is anything but. Netflix’s new release is sure to remind audiences of how exhilarating the genre can be, whilst simultaneously being rich in performances too. Egerton is a large factor to this success, bringing a realism to his character that feels honest and earnest, despite his flaws established early on. Fret not Santa truthers, as the presence of a Christmas themed message of betterness and self-improvement is found throughout, providing enough well-intentioned cheesiness to encourage a merry time. The story is aided by editing that balances exposition and intrigue sweetly, whilst not inventive, this adaptation of a modern visual style helps the story maintain an unexpectedly rapid pace that rarely lets up.
The battle between Carry-On‘s leads is a familiar tale of Good vs Evil, Right vs Wrong, Santa vs Krampus. Chemistry between the two is delectable, and Egerton’s agonizing circumstances are elevated by Bateman’s usual, but not unwelcome, sarcasm that evolves thanks to sinister undertones. In fact, it’s not irrational to state that the co-stars prevent the film from being bogged down by some clunky dialogue and questionable narrative decisions. Their oddly loveable riffing and camaraderie teases a dynamic that will distract viewers from Egerton’s underwritten reactions to the outright murder of multiple colleagues, which the innocent TSA agent seems shockingly unfazed by. Some may critique Bateman’s villain as lacking a backstory with depth or resolve, whilst this isn’t an unfair judgement, it equally proves unnecessary throughout. Bateman’s traveller serves his purpose in the story with a disturbingly realistic motivation, only stealing the limelight from Egerton when the story requires.
Nitpicking cinematic moments to fit a critical narrative is lazy journalism, however there are a few scenes where audiences must lend themselves to the illusion of the silver screen, trying not to overthink any clearly rushed dialogue. One scene specifically divulges into the potential fatalities the secret package threatens to over 60,000 people in LAX, quickly followed by Tower Control profusely refusing to close the airport due to it being a busy Christmas Eve and people needing to catch their flights. Conversation of closure ends as quickly as it begins, with the well-being of thousands of innocent citizens bizarrely brushed aside, a sure-fire way to breach LAX’s counterterrorism and Health and Safety policies.
Whilst quality of dialogue is inconsistent, action throughout is suspenseful and invigorating. Possessing an air of realism that packs a killer punch, Carry-On maintains a delightful level of tension thanks to its chaotically thrilling plot. Never forgetting that Egerton’s Ethan Kopek is no superhero, any heroic combative efforts are measured perfectly with personal struggle, delivering an overarching narrative that feels intimate and honest, even if slightly safe. Whilst audiences may not witness any Tom Cruise esque gravity defying stunts, Egerton fulfils such cravings with multiple homages to Cruise’s infamous high-knee running style, although perhaps not intentionally. Carry-On‘s best scene comes in the form of an energetically flamboyant car fight to the tune of Wham’s! Last Christmas whilst bombing down the highway, akin to Deadpool’s (2016) opening. Unfortunately, the refreshing visual tricks used here are fleeting, showcasing how Carry-On’s potential has been limited by the streaming giant’s release model.
Netflix funded films notoriously lack a visual depth and substance that could elevate it to new heights, and the same unfortunate issue applies within Carry-On. There’s nothing wrong with the cinematography throughout, but there isn’t much to generate excitement either, excluding a handful of moments. This feeling is only reinforced by a bland colour palette that fails to attempt to inject a shred of zealous personality. Moments near the end should’ve been more ambitious with their lighting and angles, contributing to a final act that could’ve produced a modern action icon. Again, Carry-On delivers enough in these areas to achieve immediate success, but these limitations prevent it from stepping into greatness. One may question if such hinderances would have existed with a different distributor that trusts a theatrical release, and thus the swaggering style that follows action in cinema.
Overall, Carry-On delivers more than enough to be labelled thoroughly enjoyable. It’s certain to be a hit with families across the holiday period, and ironically, it’s shying away from over-indulging in festivities may encourage strong viewership year-round. Whilst an undeniably fun ride, a desire to be the next Die Hard requires a richer depth and tightening of a frustratingly inconsistent script. Carry-On‘s Christmas cheer is saved by the sublime performances of Jason Bateman (Zootopia) and Taron Egerton (Rocketman) who excel in their cat-and-mouse like roles. However, Netflix’s streaming limitations are once again exposed by an under wrapped final product that could have been great, rather than just good.
Carry-On releases on Netflix December 12
