Get Carter is a 2000 American action thriller film directed by Stephen Kay, written by David McKenna, and starring Sylvester Stallone, Rachael Leigh Cook, Alan Cumming, Mickey Rourke, John C. McGinley, Rhona Mitra, and Michael Caine.

Jack Carter, a mob enforcer living in Las Vegas, returns home to Seattle after hearing that his brother, Ritchie, was killed in a drunk driving crash.

His partner, Con McCarty, covers for him with his mob boss, Fletcher – whose girlfriend Audrey is having an affair with Jack.

At the wake, Jack continues questioning mourners and well-wishers about what happened to his brother, drawing the ire of Ritchie's widow, Gloria.

He discovers that Paice produces amateur porn movies using young women drugged and raped by Eddie and Geraldine; one video shows Doreen as one of the victims.

Paice then pummels him to the ground while commenting that Ritchie put up more of a fight than he did, thereby admitting that he was involved in his brother's death.

Brumby admits involvement in the murder, warning Jack that killing him will force him to run for the rest of his life.

Having settled the score for his brother, a now shaven Jack meets Doreen one last time at Ritchie's grave and explains that he has to go away for a while.

Principal photography took place mainly in Vancouver, British Columbia, although the production spent several days in Seattle and Tacoma, Washington to film exteriors of local landmarks.

Michael Caine's role was originally relegated to a one-scene cameo appearance, which he agreed to do as a favor to his friend Sylvester Stallone.

The film also features songs from artists such as Moby, Red Snapper, Mint Royale, The Accidentals, Faye Wong, Paul Oakenfold and Groove Armada.

"[14] Elvis Mitchell of The New York Times said that the film is "so minimally plotted that not only does it lack subtext or context, but it also may be the world's first movie without even a text".

[15] Elizabeth Weitzman of the New York Daily News called the film "a throwaway story hidden beneath a messy jumble of weird camera angles, worthless editing tricks and an ill-placed, obnoxious score".

[16] Among positive reviews, JoBlo.com praised "the sharp turn given by Sly Stallone, its groovy tunes, and its generally dark and gritty nature.

"[18] David Keyes of Cinemaphile.org said, "If you strip the material of its ineffective level of performances, what we are left with is a concept that, at least at the core, is quite intriguing.