Carry-On (2024)

Junior TSA agent Ethan Kopek (Taron Egerton) and his partner Nora Parisi (Sofia Carson) have a rather exciting Christmas Eve. It’s not just that working on Christmas sucks, and even more so doing so at LAX, as they both are. Nora has also just told Ethan that she is pregnant, and his reaction is rather more complicated than one would probably hope for from a new father, though, to be fair to the guy, his reaction is based on self-doubt instead of the old deadbeat dad routine.

After some dithering, Ethan does decide to take this as an opportunity to get himself out of the motivational slump he has been in ever since he didn’t make it into cop school. Alas, his new-found go-getting attitude does put him in the crosshairs of a mysterious Traveler (Jason Bateman), who really, really needs Ethan’s help to get an object on an airplane. If not, a bullet just might collide with Nora’s brain.

Ethan’s doing his best to outwit his tormentor without endangering lives, but that turns into a very difficult proposition.

After going through a bit of a Rock-shaped slump, Jaume Collet-Serra is back making the kind of genre movies he’s shown himself to be oh so very good at. As always with the director, the initial set-up and characterization of Carry-On (not to be confused with the Carry On films for my imaginary readers from the British Isles) are taken somewhere out of cliché central. Once the plot gets rolling, however, that sort of thing becomes utterly irrelevant to the enjoyment gleaned from the film’s tightly constructed series of escalations, where every single move Ethan manages to make only appears to make the situation more dramatic and acute. There’s the proper and pleasant breathlessness to proceedings Collet-Serra does so well, and a kinetic energy that belies the fact this is taking place in a comparatively small number of places.

But then, one of the touches that give the film its extra kick is how well it uses the very quotidian locations inside of an airport for maximum excitement. Who knew baggage conveyor systems could be so exciting?

Also exciting – at least to me – is how well Carry-On uses the cliché characters and relations it establishes to further its dramatic impact. While Ethan is certainly the film’s protagonist, Nora and certain other characters are actually doing things as well, which of course makes it easier for a viewer not to see them as some kind of narrative furniture.

So yes, it’s Jaume Collet-Serra making a very Jaume Collet-Serra movie again, and I couldn’t be happier about it.

Three Films Make A Post: From a dimension beyond the living, a terror to scare you to death.

Ghoulies II (1988): The first Ghoulies us the sort of take it or leave it post-Gremlins proposition I’d rather leave than take, but this sequel, directed by producer Charles Band’s father (and veteran low budget director) Albert is rather more entertaining. It does help that it takes place on a carnival – supposed soon to be reorganized by a malevolent money man – and really puts out all the stops when it comes to the positive carny clichés. The film is full of fun (and silly) performances like the one of Phil Fondacaro as small Shakespearean thespian (at least that’s what he says) Sir Nigel Penneyweight that could be cruel and unpleasant but turn out loving and fun. Plus, there aren’t too many horror films in which the demons threatening the heroes are beaten by conjuring up a bigger (adorable) one, or the traditional “last monster nobody manages to kill” hides away in a toilet.

The Gift (2015): This small, LA-set thriller directed by Joel Edgerton (who also plays one of the main characters, together with Jason Bateman and Rebecca Hall) is pretty much a perfect example of its genre: it is clever, twisty, ambiguous and often truly disquieting without ever needing to show the worst things going on in it. Thanks to a wonderful script (also by Edgerton), acting and direction, it does manage the particularly fascinating trick of being character-driven while keeping the motivations and true nature of said characters at least partially hidden. I’d say more about it but this one of those films where telling much about anything going on in it really could spoil the first impression needlessly.


Body Parts (1991): Eric Red’s horror film about body part transplantation, mad science, pointless murders, and the question if evil (whatever that may be) sits in the serial killer arm transplanted onto psychologist Jeff Fahey is as entertaining as its basic idea is silly. For most of its running time, it even manages to treat its rather absurd set-up with the utmost seriousness, doing its best to avoid turning out like Oliver Stone’s The Hand. Fahey’s performance is a fine bit of middle class paranoia, and his descent into what we’re actually pretty sure from the outset isn’t madness works particularly well because Red does manage to actually make the family unit threatened this time around sympathetic without getting treacly about it. As a bonus, there’s a bonkers ending and Brad Dourif for once is not playing the killer.