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Jack Carter, the reserved London gangster, travels north to Newcastle, his home town, to find the cause of his brother's death. He's warned by his bosses not to go, but refuses to obey them. We, and he, discover the reasons for the warning, which are intertwined with the details of his brother's fate, and watch Carter's quest for revenge reach its logical conclusion. The underworld life sets a kitschy vision of glamour - music-box decanter sets, flashy bespoke suits, and garishly decorated villas - against the grotty reality of arcade slot machines, pornographic 8mm films, and the claustrophobic grubbiness of Newcastle's industrial tenements. Carter, who prides himself on a style of detached shrewdness, navigates both worlds, until he discovers that they're intertwined, sickeningly. The corruption which provides him his living has tainted his own family. I think the centre of the film is the brilliant moment when Carter sits in bed in the flickering light of a projector, discovering the truth about his world. He weeps, silently, knowing what he must now do. But vengeance is all he knows, and it consumes him.

This story captures with great subtlety the coarse truths about poverty, and crime, which are as true today in Canada and the US as they were forty years ago in England. There's no heroism, no loyalty, no glamour. We feel a kind of sorrowful revulsion at the squalid reality of Carter's world, even as we fear the intensity of his quest for his brother's killers. And we realise we've seen a perfect film of its kind - exceptionally skillful acting, cinematography and editing, bringing to life a taut script. Never again will we fall for the false romanticism of crime.

British gangster classic starring Michael Caine as the eminently quotable, ultimately tough Jack Carter

Hard to believe that a major studio felt the need to remake this British gangster classic, which ranks up there with the likes of The Long Good Friday as one of the finest home grown films of the past 30 years.

Caine is the gangster who goes to Newcastle for his brother's funeral and begins to suspect his death was no accident; cue edgy thrills and violence as he exacts revenge on the folks he believes responsible.

Caine, as in the majority of his signature roles, is superbly armed with a set of eminently quotable one-liners ("You're a big man, but you're out of shape" tops the bill this time), and as emotionally detached and violently ruthless as Point Blank's similarly vengeful Lee Marvin, while director Hodges paints a gritty, bleak picture of the gangster underworld.

Soap fans will be equally intrigued to see Coronation Street's Alf Roberts (aka Bryan Moseley) being tossed off a roof.

An excellent noir cinema produced by Michael Caine and very well directed by Mike Hodges ; an extremely tough movie burdened by cruel murders and seedy characters , based on a novel titled 'Get Carter' by Ted Lewis from 1970 . This brutal , austere crime-thriller focuses a cheerless enforcer Jack Carter (Michael Caine) , a tough , amoral gangster who works as a killer at the town . Magnificent Michael Caine in the title role , he's a hit-man who returns home to investigate his brother's death by some mobsters . Two-fisted Jack in order to revenge his sibling , vows vengeance and spontaneously meets sleazy characters (Ian Hendry, Mosley) in the middle of sinister bands war and running afoul into underworld . When his brother dies under mysterious circumstances in a car accident , London gangster Jack Carter travels to Newcastle to investigate and meets nasty characters who may have been involved . Carter aware the murder of his brother at the hands of a "gang" opponent led by a mobster (John Osborne) . As he decides to travel his natal Newcastle to investigate who is responsible . This city in northern England is portrayed as a cool place , foggy , sordid , rainy , dirty , gray and industrial aspect . Carter starts moving in this ambient , full of sad pubs , horse races , buildings almost in ruins , piers of black water and ravaged aspect postindustrial , which had almost erased from his memory . While we see as his facade of sophisticated and elegant Londoner gentleman with exquisite manners , educated pose, and expensive costumes , begins collapsing , leaving see the lascivious, malleability and cold killer . All of this ends up in the discovery of X film involving his niece what angry Jack Carter enormously . This triggers a wave of violence that sweeps the the underworld lumpen in northern England . Carter keeps the things moving along until ending vendetta. The end of the film is like a summary of the entire story for the scenarios that uses austere bleak and cold environment.

This interesting film features thrills , raw energy ,adult subject matter with abundant nudism , lots of violence and enlivened by high-powered performances . Plenty of intrigue, atmospheric music , kinky sex ,noisy action and grisly killings until impressive finale vengeance . It is a movie very violent , depressing charismatic , magnificently set , but always strong , with a perfect abstraction of a climate of moral misery to game with the cold environment and ramshackle scenarios well photographed by cameraman Wolfgang Suschitzky . Adequate musical score by Roy Budd with a rare mixture , the dark psychedelia of the movement "Northen Soul" , so fashionable in the proletarian clubs from the north of England of the 70s .

This British 1971 film "GET CARTER¨ is an original movie and is far superior subsequent 1972 remake , a Black Gangster version titled ¨The hit-man¨, a Blaxploitiation movie regularly directed by George Armitage with Bernie Casie , Pam Grier , Roger E Mosley and Paul Gleason . And remade again (2000) by Stephen Kay , in which Las Vegas avenger goes home to Seattle to learn his brother's death , starred by Silvester Stallone in the title role , Miranda Richardson , Alan Cummings , Mickey Rourke and again Michael Caine at a special appearance .

GET CARTER is the anti-Hollywood gangster movie, a film which strips away the glitz and glamour one usually associates with the genre to deliver one of the grimmest-looking movies ever. The north eastern locations are wonderfully used with this being a very visual movie that really brings out the grubby dirtiness of an industrial wasteland.

The characters, too, are grim. Michael Caine is the epitome of the anti-hero, a man just as cold, violent, and ruthless as those he pursues, except the viewer happens to be tagging along with him on his odyssey of revenge. The film's narrative has a mystery storyline as Caine attempts to uncover the circumstances surrounding his brother's death, and the supporting cast - including a memorable Ian Hendry - is exemplary.

Being a film from the 1970s, the sex and violence is ramped up, particularly the former in an arresting phone sex scene with Britt Ekland. Caine is on top form, delivering what I believe to be his most frightening performance, and the script offers up some real corkers in terms of the dialogue. In fact, GET CARTER is a film which it's very difficult to criticise; everything about it gels together perfectly, and it's a real classic for a reason. Mike Hodges should be proud of his accomplishments here.

Jack Carter is not someone you'd usually want to take home to your mother. He's a career criminal, a gangster in London whose brother was in Newcastle (his hometown) when he found out that he died under mysterious circumstances. Already we're on his side, since it was obviously not a typical drunk-driving accident that caused Frank Carter's death, and we want to see revenge and/or justice. But Jack Carter, that man with a near-permanent dour look on his face and a tendency to get violent, isn't a typical protagonist. He's something of an anti-hero, a nasty one at that, who is a perpetual womanizer (in one oddly hot scene he talks with a direct tone on the phone with a gangster's moll to take off her clothes and masturbate), and will hurt anyone he needs to, sometimes to extreme lengths, to get what he needs to know.

Certainly he's surrounded in a murky enough criminal environment. The Newcastle of 'Get Carter' is a place with sleazy gangsters betting big bucks and nightclubs with of-the-period music, and women running hotels with weathered looks on their faces. It's here that Carter goes on his investigation, like a hard-boiled detective without mercy. And as he digs deeper into what is at the heart of the mystery- that Frank Carter wasn't a saint, but got duped by the criminal elements and in a pornographic film that brings Jack to tears of rage- it becomes clear he'll have to knock a few heads, and shoot when he must... which is a lot.

Carter might be more unlikable if not for the star in the role. Michael Caine has a look to him in this film that recalls Alain Delon in the Jean-Pierre Melville pictures, specifically Le Samourai. Nothing can really flinch this guy, unless it's something that he actually cares about. But Caine gives humanity to a character that is on the move, almost always, and has to be on his toes when around unsavory characters. I loved seeing how Caine can just be great at looking around a room or a situation or looking over a person, and how when he gets angry, boy you better get out (even if, or sometimes especially because, you're a woman not dishing on what needs to be told). Caine helps a film that needs that star quality- other actors like John Osbourne as the Big Gangster Kinnear and Ian Hendry as Eric do well enough if only good performances- and where the film digs into some subversive, dark terrain, we have to keep watching it to see how Caine can pull it off.

Another perk for Hodges is how he deals with the action. Often his film will feel a little slow-going (never too boring, but of a time period, the 70's, when a story could take a little more time in establishing mood), but when action and violence come up it's genuinely shocking and thrilling. We expect to get some satisfaction seeing Carter getting his payback at the criminals, but here there's a dastardly twist as to how just rotten Carter can be with these figures. He goes to their level, and Hodges lets us go along for the wicked neo-noir ride. Some may find it too dark, or just a little too unrelentingly bleak with what Carter finds and how he gets his revenge. But there's the bittersweet part to it as well, especially in the last act, that makes it worthwhile.