After a long stretch of gloomy awards season films, the Netflix original “Carry-On” offers a breath of fresh air with its elegant simplicity. Remember when Hollywood used to produce action thrillers set in a single location, often dubbed “Die Hard on a ____”? These films were guilty pleasures but also included some genuinely well-crafted action movies like “Air Force One” (set on a plane), “Speed” (on a bus), and “Under Siege” (on a ship). While I’m not suggesting that Jaume Collet-Serra’s latest film stands shoulder to shoulder with those classics, its straightforward approach is a delightful reminder of a time when Hollywood wasn’t bogged down by complex mythologies or multiverses. It may run a bit long and lean heavily into silliness, but that likely won’t bother most viewers. In a year with very few decent holiday films (apologies to the two fans of “Red One”), this could very well be the standout Christmas movie of the season. (Feel free to debate whether that ties it back to “Die Hard.”)
“Carry-On” features a solid performance from Taron Egerton as Ethan Kopek, a TSA agent who finds himself entangled in a terrorist scheme. After a lengthy introduction to Ethan’s girlfriend Nora (Sofie Carson), who also works at the airport and is expecting their child, we follow Ethan on one of the busiest travel days of the year: Christmas Eve. While working at a packed security checkpoint, he’s handed an earpiece and receives a text instructing him to put it in. A mysterious stranger (Jason Bateman) tells him that he must follow orders or Nora will be in danger. All he has to do is let a suspicious bag pass through the X-ray machine without raising any alarms. It’s that straightforward. If he looks the other way, she’ll be safe, even though he knows it could cost countless others their lives.
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The screenplay by T.J. Fixman is built on such an intelligent premise that it significantly enhances “Carry-On,” even through its rough spots. It presents a classic dilemma reminiscent of The Trolley Problem: Would you take an action that results in the death of your partner, the mother of your child, if it meant saving countless innocent lives? Initially, Egerton, who can shine in the right roles, seemed miscast. However, he intentionally opts for a more subdued performance, allowing the surrounding action and the more flamboyant portrayals to shine. This is yet another likely underrated moment in the career of a consistently impressive actor.
And shine they do. Dressed in a black coat and hat, Bateman fully embraces his villainous character. I would love to see him take on more roles like this, where he understands the assignment and delivers a menacing performance without being overly dramatic. Collet-Serra rounds out the cast with talented character actors, including Logan Marshall-Green, Theo Rossi, Dean Norris, and a standout performance from Danielle Deadwyler as the agent who begins to piece everything together. Does she do this in a way that challenges conventional logic? Absolutely. Yet, we live in a culture that tends to obsess over such narrative details in pursuit of social validation. The reality is that many of the best action films set logic aside at times to achieve their goals, and Deadwyler does an impressive job of holding together some of the film's more outrageous elements. (Notably, there's a wild action sequence set to “Last Christmas” that had me both laughing and gasping.)
Collet-Serra has demonstrated his knack for straightforward action in several standout Liam Neeson films, such as “Run All Night” and “The Commuter,” as well as the highly entertaining “The Shallows.” He did venture into franchise territory with some disappointing films like “Jungle Cruise” and “Black Adam,” but he’s back in his element with “Carry-On.” This film highlights his talent for pacing, making it a refreshing addition to the action genre. It’s not just the bleak awards season that makes “Carry-On” stand out; it’s also the current action movie landscape, which often overlooks the audience's desire for a well-executed, simple plot. After the fatigue from countless “Die Hard” imitations in the ’90s and 2000s, perhaps it’s time to welcome them back into the cultural conversation.