Carry-On is functional. Its high concept moves swiftly through cat-and-mouse tactics. The hero's flaw arcs while contrasting with the villain. There's setup/payoff, layered stakes, twists, and themes about taking charge. Although lacking vulnerability, its acting supplies internal conflicts and charisma. Yet, while these strengths are a competent foundation, the script isn't an outright success. Often, the dialogue over-explains, which arguably helps the convoluted third act but undercuts emotional impact. There's a mediocre climax, a sluggish B-plot, and contrivances. Also, the story is overtly formulaic. Thus, Carry-On's light entertainment struggles to be truly memorable.
Technically, Carry-On exhibits similar adequacy. Aiming for thrills with brief humor, its direction achieves its tones decently yet not expertly. The imagery provides clear set pieces, some subjectivity, and an ambitious (though unconvincing) oner. Despite action plus tension, its editing's momentum is clunky due to cross cuts. The sound offers abundant combat, distortions, and voiceovers. Aside from a couple of juxtaposing Christmas songs, its music is generic. The production design conveys a believable LAX location. Its casting has fair fame, diversity, and against-type fit. Excluding a handful of stunts, the effects amount to shaky CGI. Overall, Carry-On is acceptable.
Writing: 5/10
Direction: 6/10
Cinematography: 6/10
Acting: 7/10
Editing: 5/10
Sound: 8/10
Score/Soundtrack: 5/10
Production Design: 7/10
Casting: 7/10
Effects: 6/10
Overall Score: 6.2/10
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