Cast:
Keanu Reeves (John Wick), Donnie Yen (Caine), Bill Skarsgård (the Marquis Vincent de Gramont), Laurence Fishburne (the Bowery King), Hiroyuki Sanada (Shimazu Koji), Shamier Anderson (Mr. Nobody / The Tracker), Lance Reddick (Charon), Rina Sawayama (Shimazu Akira), Scott Adkins (Killa Harkan), Clancy Brown (the Harbinger), Ian McShane (Winston Scott), and Natalia Tena (Katia) Directed by Chad Stahelski (#905 - John Wick, #906 - John Wick: Chapter 2, #1222 - John Wick Chapter 3 – Parabellum)
Review:
"John Wick is a weird spillover of anime, manga, graphic novel sensibility as well as Wuxia films, Chanbara films, Samurai films, and Westerns. It’s got this weird transference."
It was ten years ago this year that Keanu Reeves signed on for a project that in the end run became a franchise. It is funny to consider that John Wick became a franchise that has seemingly risen in ambition with each passing sequel that has adequate staging in plot to accompany exquisite staging when it comes to action. You don't need me to tell you that this film is already a hit or that it is the longest film of the series at 169 minutes. I would be silly to not mention that a spinoff of the series is intended for release the following year with Ballerina with some of the main cast; a limited series "from the world of John Wick" will also be present in the coming months, if you are into that sort of thing. The film was written by Shay Hatten (who co-wrote the third film with series creator Derek Kolstad) and Michael Finch.
Honestly, it is hard to say which of the three John Wick sequels has turned out the best (if you want to be technical, the first is probably still the best for the surprise that comes with such a raw film). It definitely is the one where Reeves seems to say the least number of words, adhering most to the tradition set out by Sergio Leone's spaghetti westerns with its one quiet hero. Each of the films feature plenty of what you might as well call gun-fu to go with fairly distinct actors getting to play support to Reeves and his exquisite timing as an action icon. The movies are bombastic in trying to top the other while finding new places to play like a kid wanting to take the toybox to new places, whether that means a sequence shot in Jordan or an action sequence at the Arc de Triomphe. The movie takes action sequences like it is water to absorb, which means one sees the vast effort required to make these scenes important to view in their ass-kicking glory without a feeling of repetition. There's plenty of targets to go around from the disposable to Scott Adkins in a fat suit hamming it up for all that seems clearly required. Reeves clearly knows what he likes as the ultimate action-boogeyman, one who moves through any sort of scene with precision and engagement for the action ballet that takes place with him usually at the forefront that shows the dedication required in performing a mix of judo and mixed marital arts that looks just like it feels to watch in absorption. The fact that a good chunk of his dialogue is just "yeah" is probably more of the fact that one has gotten to the point where he is simply just where he needs to be without such need for lengthy moments in his path of last vengeance (or in a different way, the path of seeing where his smoldering decisions have left others). Yen accompanies him in his style of worthwhile action charisma, a worthy match against Reeves in saying what needs to be said, which goes double for someone playing a blind assassin. Skarsgård makes a quality adversary, preening in haughtiness in a series all about the sheer arrogance that comes with not planning more than two steps ahead of a "Baba Yaga". Among the other additions is Anderson, who makes an adequate background mercenary, while Sawayama (a singer in their acting debut) does well in the parts they are in the film, which mostly involves interaction with Sanada, which is neat. It's always fun to see Brown or McShane around, but it is especially true with Reddick, who passed away last month at the age of 60 (small sentences or not, he always made this role distinct). The fact that a duel for the climax be handled so fervently in elegance is a testament to how the series has managed to hold in consistency. It is fun without becoming a needless excuse of dim lighting or being wishy-washy with its tone. As a whole, the film is paced well enough to roll with every punch and shot without dawdling on something for too long. Who knows where the series might go from here, but I can safely say that it was a pleasure to see Reeves on screen again in a role that he obviously seemed born to play to go along with a director that knows what he likes in raising the expectations set as a director that makes one curious to see what could be next.
Overall, I give it 8 out of 10 stars.
Next Time: A special celebration on April 20th in the way best suited for Movie Night: a double-header with one film of world cinema and one from America.
