John Wick Chapter 4 (2023)
As many of you are well aware, I believe great action can be some of the highest cinematic highs one can experience through the transporting thrill of the movies. It’s the larger-than-life quality, the symbiosis of so many tactical teams working in harmony to pull off the breakneck stunts, rapidly escalating stakes, and organic story complications, that it all feels like the best kind of magic trick. For my money, Mad Max: Fury Road is closer to the pinnacle of the artform than a majority of self-serious Oscar bait drivel. In many ways, musicals are very similar to action movies, as fight choreography is nothing more than a rehearsed dance between professionals. Both must incorporate geography, spacing, and interaction to maximize their appeal. It is from this perspective that I approach the John Wick franchise, a series that I have enjoyed and has gotten more popular with every new entry. John Wick: Chapter 4 is about as action-packed as they come, running at nearly three hours long. I purposely waited and saw the movie with my father, a fellow lifelong lover of big screen action and particularly Fury Road. We both had a blast, and rather than write a review of exclamatory nonsense, I thought I’d look over some of my finer critical points with 2019’s John Wick 3 and analyze how 4 excels beyond.
John Wick (Keanu Reeves) is a legendary assassin in a world where I think half the population are secretly, or not so secretly, trained assassins. I have to think the union collective bargaining negotiations are brutal. Regardless, John has been on the run ever since he upset the High Table, the cloak-and-dagger authority over this clandestine universe. He’s had a bounty on his head getting larger and larger with every foiled assassination, and there have been hundreds at this point. To finally clear his name, John plans on challenging the Marquis (Bill Skarsgard), the new controlling High Table member who is un-sanctioning every international hotel that gives refuge to Wick. The old rules state that Wick can challenge the Marquis to a duel, but getting to the actual dueling site might be murder.
As I wrote in 2019: “Most other action movies have one or two moments that make you wince or make you shake your head in astonishment of something intense, gnarly, or self-evidently awesome. John Wick 3 is packed with these moments… For action fans, the John Wick series is a simplified adrenaline shot where the director and star are working in unison to compose goose bump-triggering action cinema for the masses.”
This compliment is still applicable because the lasting draw of the John Wick franchise has always been its highly polished and intense action sequences. Series director Chad Stahelski has an intimate understanding of his star’s physical capabilities, having served as Reeves stunt double for years, and he and his team stress the fidelity of visceral realism with their overtly preposterous movie. The action is displayed in long takes, wide shots, and gloriously accessible visual arrangements to allow the audience to truly enjoy the splendor of the moment. This philosophy stretches to car chases, like an exciting roundabout of the Arc de Triomphe making bodies fly through the air, and even horseback chases, like an opening evoking Lawrence of Arabia. There were several moments that made me giggle in giddiness, like a woman relentlessly stabbing a man she rode piggyback up the stairs, and a sustained high angle where Wick clears room after room of baddies with fiery canisters that turn each target into a burst of flames, and a fight ascending many flights of stairs that has echoes of Wile E. Coyote slapstick. If you are a lover of action, these movies will not disappoint in that department. The movie takes about 30-40 minutes to set up its stakes and goals, and from there it’s relentless. The best compliment I can give is that Chapter 4 did not feel like three hours because it just flew by for me.
This is where my small criticisms of 2019’s third entry began, and I’ll address them one-by-one: “Because the movie rarely catches its collective breath, it can also feel like a mindless video game, with each new location a new level and with innumerable, faceless cohorts rushing in to be battled. The violence can be brutal but also feel a bit programmed, lacking some of the visceral dynamic realism of The Raid movies, the closest equivalent action franchise.”
This was a concern I was beginning to notice with Chapter 3, that the movies were in danger of becoming repetitive as Wick clears room after room of opponents. In general, that is the plot of all four movies, so the emphasis needs to be on how each sequence differentiates itself. Chapter 4 does this very well by giving every sequence its own underlying identity. This can be through unique locations or even weapon preference. One sequence is entirely John battling with nunchucks. One sequence is John fighting through a rainy Berlin club that becomes an ax fight. There’s a fight that utilizes well-placed doorbells to cue a blind swordsman Caine (Donnie Yen). The change in locations also helps differentiate the action sequences, with trips to Osaka, Berlin, and finally Paris each adding their own style. It’s a lot more fun to change things up and make sure that the change in scenery, weapon preference, and character is incorporated into the fight.
Another undervalued aspect of the Wick franchise is how damn good looking these movies are. Stahelski can frame some beautifully lit sequences to make all the subsequent carnage and fisticuffs that much more pleasing. We’ve been settling for far less for far too long, folks. There’s no reason our grungy, dank, overly gray action movies cannot look as pristine and striking as the John Wick series.
I also wrote in 2019: “The further and further we get from the events of the original John Wick, the less emotional involvement the series seems to ingratiate, especially with its central baddies onscreen. Every dog-loving audience member was willing Wick to get his vengeance in the first movie. We wanted him to get the bad guy in the sequel. Now it’s basically wave after wave of hired guns that he has to defeat, and without a better connection to that opposing force, the movie franchise runs the risk of losing any long standing personal stakes. The bad guys are just interchangeable and only present to be dispatched. There’s no emotional victory or satisfaction for the audience if Bad Guy #12 gets toppled by the climax.”
I was beginning to worry that by the time of John Wick 12 he would have killed the entire world’s population and forgotten it all started because of one dog. It’s not that story is the preeminent feature of the Wick franchise but there is more thought and curiosity put into this world building and it would be a shame to ignore it simply for wall-to-wall violence. Fortunately, I think Chapter 4 does the best about introducing new and engaging characters. The John Wick series has introduced new faces but rarely do they seem like more than overly glorified NPCs meant to root for John or take stock of the current predicament (they’ve never found a meaningful use of Laurence Fishburne). With Chapter 4, the new characters actually matter, and they’re great. The best addition is Caine, made even more intriguing by being a blind assassin and made even more fantastic through the performance of Yen (Rogue One, Ip Man). He’s a friend to John and feels great guilt about trying to kill him (his daughter’s life is threatened as leverage). He’s a conflicted killer, the rueful warrior, and his disability makes every fight worthy of watching how exactly he’ll take down his next opponent. It’s enough that I could foresee a Caine spinoff if the fortunes of the universe demand even more Wick spinoffs (Ballerina, a spinoff starring Ana de Armas, is expected to be released summer 2024).
The other new characters are also strong. Skarsgard (It) makes a great hiss-able villain and he really eats up his French dandy accent. There’s also Mr. Nobody (Shamier Anderson) who spies from afar, biding his time until the bounty on Wick gets high enough. He has a dog too that is trained to attack men in a very vulnerable spot first. Then there’s Scott Adkins (Ip Man 3) in perhaps the performance of his career. He gets to slather on makeup, a fat suit, false teeth, and really becomes a broad character, a German crime lord but more a menacing fairy tale behemoth. The way Adkins relishes every syllable is a delight. The man isn’t known much for his acting, other than his finely honed martial arts skills, but he showcases plenty of potential if given a chance. It’s fun to watch all these martial arts experts cut loose, most in their middle age. Recording artist Rina Sawayama makes a killer acting debut as the concierge of the Osaka Continental hotel, and she wreaks havoc with a bow and arrow and some intense knife work.
Because of having more interesting characters meaningfully involved, including those who have a familial history with John Wick, it brings a new emotional stakes to the franchise because we don’t know what will happen to these new faces. I cared enough to be newly invested.
And lastly, in 2019, I concluded with: “I’ll happily continue watching further adventures of John Wick, though I’d be just as interested in an exploration of the world without its titular star. At some point it may be necessary to retire John Wick (Reeves seems to have lost a step, but he’s still like a hundred steps beyond most of us) and when they do, I hope this interesting and peculiar world is allowed to house further weird and exciting adventures.”
By the end of Chapter 4, you question whether this universe can exist beyond the bloodshed of Mr. Wick, and my answer would be yes. A Continental TV series is premiering in the fall on Peacock, taking place in the 1970s with younger versions of Winston (Ian McShane) and Charon (the late Lance Reddick). There’s at least one spinoff in the works I’ve mentioned earlier. It very much appears that Reeves and Stahelski intended for Chapter 4 to be the definite conclusion to their story they began in 2014. I doubt things will stay that way, especially with Chapter 4 becoming the biggest earner in the franchise. I would suspect the studio would be begging for a Chapter 5. Regardless, if this is the intended series finale, then Reeves and Stahelski have gone out on top. John Wick: Chapter 4 is action movie nirvana.
Nate’s Grade: A-
John Wick: Chapter 3 (2019)
When we last left human killing machine John Wick (Keanu Reeves) he was on the run. He had just committed the cardinal sin in this world of professional hired guns — killing a protected man on safe ground. As a result, The High Table, which governs this ordered realm of trained assassins, has excommunicated Mr. Wick and placed a $15 million dollar bounty on his head. John is desperate for an exit and leans on old pals (Angelica Huston, Halle Berry) before coming home once again to face off against all the gun-toting wrath The High Table can offer.
Plenty of Hollywood action movies can elicit cheers and thrills, and John Wick 3 is definitely in that mix, but what sets it apart is the sheer number of “Oooo”s, “Oww”s, and, “Holy shit”s. Most other action movies have one or two moments that make you wince or make you shake your head in astonishment of something intense, gnarly, or self-evidently awesome. John Wick 3 is packed with these moments. There are numerous examples just in the opening action sequence. There’s one long extended fight where John uses whatever is at his disposal, including knives and shards of broken glass and mirror, to take down his mounting enemies, and then he pulls these deadly projectiles out of their bodies to use again in a pinch. By the end of this action sequence, my preview audience burst into applause. I can’t think of another movie where this happened especially in Act One. The movie has lots of standout action sequences and the good sense to let the audience enjoy the disciplined, imaginative fight choreography in full with long expansive takes. There are moments that are just incredible to witness, like John Wick utilizing a kicking horse to his advantage, or seeing the full take-down effect of whirling attack dogs in combat, and a two-on-one fight where every glass cage in sight must be smashed to bits. For action fans, the John Wick series is a simplified adrenaline shot where the director and star are working in unison to compose goose bump-triggering action cinema for the masses.
Another hallmark of the series is its sense of macabre humor and the world building peculiarities. Amidst the wild carnage and bloodshed, there are moments that shocked me with how funny they were. I was almost in tears toward one baffling moment toward the very end. I loved that the chief antagonist, a samurai sword-wielding Zero (Mark Dacascos), can also be a fanboy. During a rare moment of downtime, he gets to gush and freak out that he’s actually interacting with the John Wick. There’s a new character played by Asia Kate Dillion (TV’s Billions, Orange is the New Black) who behaves like a peeved middle manager trying to get back on the next red-eye home. She’s the best new addition in Chapter Three. Don’t expect much from high-profile new faces like Angelica Huston and Halle Berry as their screen time is brokered into short segments. There’s a sequence where John combats trained soldiers in body armor, and so he has to constantly be reloading because it takes multiple precise shots to down the bad guys. It’s a smart way to escalate the stakes of the scene while staying true to its world, because who wouldn’t wear everything and the kitchen sink when being tasked with killing John Wick? I laughed out loud when Wick returned to an armory perturbed that he had to reload so soon, muttering to himself in agitation.
The action is relentless and all kinds of fun to watch but the movie starts to lose its momentum by the conclusion. Part of this is by the sense of lowered emotional stakes in its finale (more on that below) and another factor is its general plot-less nature. The entire story of John Wick 3 is the title character trying to outrun the people set out to kill him, jumping from one supposed safe landing spot to another. This works for a frenetic sense of pacing, knowing that any lag time will be minimal before the next kickass brawl. Because the movie rarely catches its collective breath, it can also feel like a mindless video game, with each new location a new level and with innumerable, faceless cohorts rushing in to be battled. The violence can be brutal but also feel a bit programmed, lacking some of the visceral dynamic realism of The Raid movies, the closest equivalent action franchise I can think of. There’s nothing here that challenges the brilliant set pieces and organic complications from the last Mission: Impossible movie. It’s a fun action franchise but it runs the risk of resting on its (considerable) laurels, feeling too same-y, and that can prove deadly. The clever fight choreography, sense of humor, and conviction of Reeves does enough to mask the negative effects of this artistic choice. This may affect people differently especially fans of the series, as lavishly produced action can be rewarding enough to ignore other pressing faults. For me, I was feeling as gassed as John Wick by the end.
The further and further we get from the events of the original John Wick, the less emotional involvement the series seems to ingratiate, especially with its central baddies onscreen. Every dog-loving audience member was wiling Wick to get his vengeance in the first movie. We wanted him to get the bad guy in the sequel. Now it’s basically wave after wave of hired guns that he has to defeat, and without a better connection to that opposing force, the movie franchise runs the risk of losing any longstanding personal stakes. The bad guys are just interchangeable and only present to be dispatched. There’s no emotional victory or satisfaction for the audience if Bad Guy #12 gets toppled by the climax. The John Wick franchise is magnifying this accelerating problem; by making the conflict carry over into an additional movie, and now into another additional movie, the audience is getting further and further distance from the origin of this conflict, and thus its resolution becomes less of a desirable and satisfying goal and more a perfunctory endpoint. I would recommend the John Wick team review 2008’s Quantum of Solace to see a recent example of a big action movie hampered by overextending a thin storyline.
If you’re coming to John Wick 3 for another heaping of high-quality action, you won’t leave disappointed on that front. If you’re looking for signature moves, dark humor, and lots and lots of casual headshots, then you won’t leave disappointed. If you’re looking for a thrilling good time at the movies, you won’t leave disappointed. As a fan of the series, this was the movie I was wanting from the first sequel, dealing with the larger consequences of his rule-breaking life-and-death decision. As the third act ramped up for John Wick 3, I turned to my friend and said, “If this was the second movie, it would end right here.” Perhaps if you watch John Wick 2 and the third movie in short succession some of the problems would be smoothed out, namely a depleted sense of personal stakes and too little plot stretched over multiple movies and counting. I’ll happily continue watching further adventures of John Wick, though I’d be just as interested in an exploration of the world without its titular star. At some point it may be necessary to retire John Wick (Reeves seems to have lost a step, but he’s still like a hundred steps beyond most of us) and when they do, I hope this interesting and peculiar world is allowed to house further weird and exciting adventures. In the meantime, John Wick 3 will more than delight those action urges and sate the action appetites of its fans.
Nate’s Grade: B
John Wick (2014)
John Wick hits you like a breath of fresh air. The plot isn’t anything new. Once again a semi-retired hitman (Keanu Reeves) is pulled back into the fray. Once again Russian mobsters are the primary villains, a popular adversarial force in the fall of 2014. What makes Wick an enjoyable throwback is its dedication to action staging that is crisp, balletic, but most importantly, clear and engrossing action. Reeves may not be as agile as he once was when he first learned kung-fu, but the man still has some serious moves, and the action choreography and stuntwork of Wick allows him to display them in long takes with lots of decisive movement. It’s no Raid 2, but it’s well ahead of most American action films of late. There’s a nice variety of action along with lots of casual headshots, which seems only natural for a trained hitman. Then there are the small touches that add intrigue and help it stand from the pack, notably a hotel with an exclusive clientele of hitmen and women who must abide by a set of rules while on “safe ground.” It’s just enough to make a well-worn genre start to feel different again. The problem with John Wick, however, is that it runs out of steam too quickly, peaking right at the beginning of Act Three. There’s a whole other twenty minutes where the film has to establish a new antagonist to get us to the finish line. It just feels like John Wick accomplishes his goal too quickly and the movie doesn’t know exactly what to do after. The conclusion of several storylines feel clumsy, drawn out, and anticlimactic. But when it’s working, John Wick is a stylish and bloody action thriller that is fun and with the right sense of macabre humor to halt it from ever getting too laboriously serious.
Nate’s Grade: B
What happens if you make a Hercules movie but take out all the unique things that make the classic hero who he is? Would he still be Hercules? This question is at the heart of director Brett Ratner’s newest film, and it’s better than expected, which is a nicer way of also saying it’s not as bad as it looked like in its terrible cheesy advertising. It might be the most entertaining Brett Ratner film yet for what that statement is worth.
So, who is this Hercules? Besides looking like The Rock, he’s a mercenary who leads a band of warriors that are carefully left out of those widespread tales of his heroics and derring-do. Hercules’ nephew (Reece Ritchie) is the mouthpiece for the group, spinning the tales into epic poetry. There’s also a female archer, a sarcastic second-in-command good with throwing knives, an animalistic swordsman, and an older spearman (Ian McShane) who is given fleeting prophetic images, mostly about his own death. There’s a reason these people aren’t described much beyond their character-defining weaponry. This gang is hired by Lord Cotys (John Hurt) to protect his people from a Thracian warlord who rumor has it is a centaur. Could he be? Have you been paying attention?
Depending upon your tastes, you may either find this new approach refreshing or feel completely ripped off. It does seem that all of those cool glimpses of Hercules going through his grueling trials, fighting giant beasts, doing generally Herculean acts, well it was all comprised to the opening two minutes, which is why I feel no spoiler guilt over revealing the true nature of the movie. It’s not really a Hercules film. Yeah, The Rock is just about the closest living example of a modern Hercules (he shouldn’t have the hobo beard, though), but it’s in name only. Whether this is a stopping point is up to the viewer. It does seem like a disappointing bait-and-switch to tease out what promises to be an epic with giant mythological beasts, and I feel like the audience has every right to be irritable they have been denied this. But if you move beyond this legitimate gripe, the resulting movie is actually serviceably entertaining, which again sounds like a backhanded compliment unless you remember how truly lousy it looked from its initial goofy trailer.
The plot is predictable at every step of the way, except one character I swore was going to be a backstabber due to pigeonhole casting surprised me when they turned out to just be another underdeveloped yet loyal sidekick. Other than that, and I apologize for the vagueness of that sentence, this is a movie you can accurately predict without having to even watch it. The mercenaries are hired for a cause, perhaps they’ll start feeling differently about what they’ve been called in to do, get more involved, and then oh no, perhaps the heroes and villains were all mixed up after all. The plot structure is at its most simplistic (mild spoilers, but really, come on): Act 1 break – they take the mission. Act 2 break – oh no, the guy was bad all along and they’ve been working for the wrong side. Act 3 is then essentially battle and vengeance against the true villains. There’s almost an admirable efficiency to its formula plot mechanics, including the tortured hero back-story over his slain family and the forced reveal of who was behind said slain family being slain. If you don’t want to overwhelm your brain, then Hercules will do.
Free of the rigors of being original or complex, the movie is open to accomplish its minimal goals of entertainment, and to this end I would call the movie a mild success. The action is involved just enough to keep things interesting, especially when Hercules and his battalion are beset on all sides by green-skinned guys who, for whatever reason, hid in holes in the ground. There’s a primal joy watching The Rock carry around a giant Captain Caveman-style club and gleefully beat people with it, especially when the recipients fly like 30 feet in the air. There’s a pleasure to be had with a stripped down and somewhat dumb action flick where everyone is running around in leather or loincloths. The action is more Hercules by way of Conan the Barbarian but without the monsters and sorcery. There’s a fun running gag where McShane’s character keeps thinking he’s come to his final moment, the death that has been prophesied, only to be denied it time and again, causing some slight frustration on his part. The pacing is also swift enough that you won’t be bored for long periods of time.
But at its heart, this is still a rather block-headed action film with questionable choices. While scrubbing the supernatural elements from the story, this still exists in the unbelievable world of Movie Land where the good guys can do anything. The archer never runs out of arrows. The good guys never miss. At one point, Hercules topples a 100-foot tall marble statue like he’s Samson. So even though it wants to be a more grounded take on the legend, it’s still filled with all that silly impossible action movie stuff we see all the time. Then there are just small impractical things that exist only for the fact that someone thought it looked cool. There’s a secondary villain (Peter Mullan!) who prefers to use a whip made of a spinal cord. This can work in one-on-one confrontations but in the open field of battle, with men churning all around, it seems like a rather poorly ineffective weapon. Lastly, there’s a trite message about the power of believing yourself. See, Hercules needs to believe he’s a worthy hero and he’ll rise to the occasion. All you have to do is believe in yourself and anything can happen… if you happen to be The Rock or look approximately like him.
This new spin on one of the oldest heroes is generally entertaining, that is, if you can accept the bait and switch of its premise, robbing Hercules of his godlike abilities. It’s like doing an action movie about Greek mythology but taking out all the mythology and just having a bunch of dudes poking each other with spears and swords. Actually, it’s exactly like that. With Ratner at the helm, you know there’s going to be a ceiling, but the film is so unabashedly clear with its simple intentions that I found it hard to grumble, and so just soaked up an average action adventure with one of the genre’s best leading men. As far as summer action vehicles go, it’s got just enough going for it, but see all the other good films first. Make a list. Check it twice.
Nate’s Grade: B-
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