Carry-On: Tense Thriller with Flaws

The opening scene of Carry-On is a brutal double homicide, its violence stark against the festive Christmas Eve setting that follows. This tonal whiplash sets the stage for Jaume Collet-Serra’s relentless thriller, which doesn’t waste time establishing its stakes: a TSA officer named Ethan Kopek (Taron Egerton) is blackmailed into allowing a nerve agent onto a flight. The film’s premise is simple but effective—a high-stakes game of cat and mouse within the confines of an airport terminal—but it’s the execution that makes Carry-On a gripping, if flawed, action thriller.

Collet-Serra, known for his work on The Commuter and Jungle Cruise, brings his signature tension to the material. The film’s strongest moments are its set pieces: Ethan’s desperate attempts to alert authorities while being monitored by the ruthless Traveler (Jason Bateman), the terminal-wide sweep that escalates into chaos, and the climactic confrontation in the airport restroom. These scenes crackle with energy, thanks to Collet-Serra’s knack for staging action within confined spaces. The director’s use of tight framing and rapid editing amplifies the claustrophobic pressure, making each confrontation feel immediate and urgent.

The film’s pacing is deliberate, allowing the tension to build gradually as Ethan navigates the labyrinthine bureaucracy of airport security. Collet-Serra’s direction is focused, with a clear visual style that emphasizes the isolation of his protagonist. The camera often lingers on Ethan’s face, capturing the desperation in his eyes as he grapples with impossible choices. This visual storytelling is particularly effective in scenes where Ethan attempts to alert authorities, only to be thwarted by the Watcher’s remote surveillance. The use of close-ups and handheld camera work immerses the audience in Ethan’s perspective, making his struggle feel visceral and real.

Egerton delivers a committed performance as Ethan, conveying the character’s desperation and moral conflict with palpable intensity. There’s a raw vulnerability in Egerton’s portrayal, particularly in scenes where Ethan grapples with his own complicity in the unfolding disaster. His chemistry with Carson is palpable, adding emotional weight to the stakes. Bateman, as the Traveler, is chillingly composed, his voice dripping with menace even when delivering seemingly innocuous instructions. The supporting cast, including Danielle Deadwyler as detective Elena Cole and Sofia Carson as Ethan’s girlfriend Nora, add depth to the proceedings. Deadwyler, in particular, brings a steely determination to her role, making Cole a compelling presence even in her limited screen time.

However, Carry-On isn’t without its flaws. The pacing stumbles occasionally, particularly in the film’s second act, where the tension ebbs as Ethan navigates the bureaucratic hurdles of airport security. Some of the twists feel contrived, particularly the reveal of the Traveler’s accomplices and their motivations. The Watcher (Theo Rossi), for instance, is introduced late in the game with little buildup, making his role feel tacked on rather than organic to the story.

The film’s action sequences are visceral and well-choreographed, but the sound design sometimes undermines the tension with overbearing scores that drown out crucial dialogue. The cinematography is functional but unremarkable, relying on handheld camera work to convey chaos rather than more inventive visual storytelling. Comparisons to Collet-Serra’s previous work are inevitable, and while Carry-On shares DNA with The Commuter, it lacks that film’s tight, twist-driven narrative.

Thematically, Carry-On explores the pressure cooker of modern security culture, where every decision carries weight and every misstep could have catastrophic consequences. Ethan’s journey is one of redemption, as he strives to overcome his past mistakes and protect those he loves. The film’s Christmas Eve setting adds a layer of irony, highlighting the disconnect between the holiday’s spirit of goodwill and the ruthless pragmatism demanded by the situation.

Carry-On is a solid entry in the action thriller genre, elevated by strong performances and Collet-Serra’s knack for tension. But it’s let down by pacing issues and some contrived plot twists. The film will likely appeal to fans of high-stakes action and tight, claustrophobic thrillers, but those looking for deeper character development or more nuanced storytelling may find it lacking.

In the crowded field of holiday-themed thrillers, Carry-On holds its own but doesn’t quite reach the heights of classics like Die Hard or The Fugitive. It’s a competent, entertaining action film that delivers on its premise, even if it stumbles in execution. The film’s exploration of themes like redemption and the pressures of modern security culture adds depth to its action-driven narrative, making it a thought-provoking watch for those inclined towards such themes.

For fans of Collet-Serra’s previous work, Carry-On offers more of what they love: tense, tightly choreographed action set against the backdrop of everyday locations. The film’s setting in an airport terminal provides a unique canvas for Collet-Serra’s brand of claustrophobic thrillers, and his direction is as assured as ever. However, those looking for a more nuanced exploration of its themes or deeper character development may find Carry-On lacking.

Ultimately, Carry-On is a solid, if flawed, action thriller that delivers on its premise with strong performances and tense set pieces.