Carry-On Review 🔴 P B P ✔
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The film’s director, Spanish genre specialist Jaume Collet-Serra, carefully balances the chaos and control of his scenario. For a while, Carry-On sticks close to its millennial John McClane wannabe; under attentive surveillance by the bad guy, who issues instructions through an earpiece, Ethan tries to think his way through an impossible situation. Can he use his smartwatch to send a message to authorities? Maybe he can scrawl it on a ticket with a counterfeit-currency marker. Working from a clever script by T.J. Fixman, Collet-Serra builds the suspense around the specifics (and specific headaches) of TSA security. Ethan’s crucible is like a life-and-death perversion of any airport employee’s daily ordeal: He has to keep his cool even as testy travelers complain loudly about any delays and take out their frustrations on him.
A sympathy for working Americans is one hallmark of this director’s ongoing collaboration with Liam Neeson. In some ways, Carry-On operates like a holiday cousin to those films – politically conscious suspense contraptions like Non-Stop and The Commuter that make good use of contained settings and cellular technology. (Few filmmakers have found a more appealing way to visualize text messages.) Collet-Serra warms us immediately to Ethan’s workplace, painting the personalities of his soon-to-be-endangered coworkers (like Breaking Bad’s Dean Norris as the no-nonsense supervisor) in quick brushstrokes. Little touches, like the way that Ethan and Nora have to park and take a shuttle to their respective terminals, speaks to an interest in getting the logistics of an airport right. And an entertaining early montage of various fliers throwing tantrums while being wanded or waiting in line betrays where Collet-Serra’s allegiances lie.