In its mission in trying to become the face of entertainment, streaming juggernaut Netflix has put a substantial foot in the distribution game. Starting in 2013, Netflix has distributed hundreds upon hundreds of films to bolster its catalog. But the company’s “Netflix Original” label acts as no seal of quality. For every critically-acclaimed darling nested deep within Netflix’s pantheon, there are hundreds of mindless and purposeless flicks. For every beloved film like The Irishman, there are hundreds of films like Carry-On.
That’s not to say Carry-On is a bad time. Director Jaume Collet-Serra, known in the 2010s for creating Hollywood suspense thrillers featuring ordinary protagonists, brings a fascinating premise to audiences searching for a holiday action flick that is sure to kill some time. Taron Egerton and Jason Bateman individually give two serviceable performances that make do for a comfortable two hours. Overall, the film is a fine time. But beyond that, Carry-On is filler that never fully takes off.
Following in the tradition of “something wrong happens to an ordinary law enforcement officer during a major holiday” films, Carry-On brings a familiar plot that feels like a cross between a warm Hallmark Christmas film and Die Hard. The movie features Taron Egerton as a low-level TSA agent named Ethan Kopek working the holidays. Kopek is just a normal Joe. He’s shelved his dreams, has a nice girlfriend, and works his job with a fully linear career trajectory. But when Jason Bateman’s elusive and dangerous Traveler shows up with a nefarious conspiracy that threatens all he holds dear, Kopek is forced to take matters into his own hands and become the hero he was always meant to be. Without a doubt, the idea is refreshing. Anyone who’s ever traveled before knows how mundane waiting in the airport is. Carry-On brings a thrilling and tense story to an ordinarily droll environment. And for a while, it is fun to watch the chaos unfold. Additionally, the holiday setting adds an element of predictable Hallmark-like drama. The relationship is predictable, yet it adds to a comforting holiday aesthetic that audiences will appreciate during this festive season.
Another element that audiences are engineered to enjoy is lead actors Taron Egerton (Rocketman) and Jason Bateman (Arrested Development). Arguably the main draw of the film, both actors give perfectly sterile performances. Egerton exudes a natural charm that’s been noticeable since his breakout role in the Kingsman films. He’s an actor who knows how to take advantage of his everyman charm while being placed in the most fantastical settings possible. Egerton never quite reaches the charismatic heights of his landmark roles, but it’s naturally difficult for the audience to dislike him. Bateman gives the more intriguing performance of the two, channeling a sinister yet oddly calm terrorist who threatens to ruin the spirit of Christmas. Bateman’s steady performance always commands the screen, arresting both Kopek and the audience. While the film tries to go for a “Hannibal Lecter-esque” relationship, the two main characters never get enough depth for audiences to feel any connection. They are intriguing separately, but together it never feels like much weight is added.
Beyond an attention-grabbing premise and “likable-enough” leads, the film never really steps out of its comfort zone. The set pieces are entertaining to watch, the camerawork looks clean yet painfully plain, and the actors are good. None of the elements ever stand out enough to make the film about anything. It’s a movie that serves its synopsis and then ceases to exist. Carry-On is watchable, but audiences will forget they ever watched it.
Feeling like one’s been waterboarded with mediocrity is a feeling most Netflix originals like Carry-On create. It just feels like a shame when the resources of a major contributor to filmmaking culture are given to cookie-cutter Hollywood flicks over unique and exciting visions. For every singular and entertaining film like Roma or All Quiet on the Western Front, there will always be forty insultingly mediocre and identity-less films like Carry-On. Perhaps Netflix is the right space to accept the existence of perfectly mindless thrillers for people to tune into at any time. Yet one can only dream of a world where more films take flight.
2/5 Stars