John Wick is back and that's cause for celebration.
Now when I say that "John Wick: Chapter 4" ranks fourth in the franchise, it's kind of like complaining that rubies are worth less than diamonds. I mean, yeah, but they’re both priceless gems. And in all honesty, the "John Wick" films exist on a plane all their own, and the fourth best "John Wick" film will be better than any other U.S. action film that comes out this year.
The first "John Wick" was a flawless diamond, pure and stunning in its clarity of purpose. Keanu Reeves played a hitman who comes out of retirement to seek vengeance after the dumbass son of a Russian mobster steals his car and kills the puppy his dying wife left him.
That premise was genius. I mean, it's lean and simple, and who can't identify with a man getting revenge on the bastard who killed his puppy?
"John Wick: Chapter 4" takes us a long way from the man who wanted revenge for the death of his pup. It brings us to a more complex and elegant world where Wick wants to once and for all regain his freedom from the criminal underworld known as the High Table.
The fact that Wick is still alive defies all credibility, but who cares when the film delivers so much exhilarating fun. The machinations of the plot are not really important and are a bit overcomplicated to keep the franchise going.
All you need to know is that the new addition at the top is the Marquis (played by Bill Skarsgård), a smarmy rich dude who once again is determined to kill Wick. He brings in Caine (the amazing Hong Kong action superstar Donnie Yen), who has a history with Wick and seems a little reluctant to kill him. Then Tracker (Shamier Anderson) is the wild card wanting to insert himself into the equation and who brings the needed dog to the story.
New on Wick's side are Shimazu (Hiroyuki Sanada) and his daughter Akira (Rina Sawayama). And then we get veteran Wick allies Winston (Ian McShane) and the Bowery King (Laurence Fishburne) back (but underused).
The "Wick" films are great for bringing out great martial artists and then using them well. I am an action junkie and nothing makes me more giddy with delight than seeing a film that knows how to put the motion into motion pictures. That's why I am so in love with the Hong Kong New Wave films of the '80s and '90s. Too often, Hollywood films bring in Asian talent and then restrain them from showing off their skills. But the "Wick" films are smarter.
Stuntman-turned-director Chad Stahelski was inspired by the Hong Kong action style so he knows how to put Donnie Yen to work. Yen is such a great addition and so blazingly good that you could watch him all day. Sanada brings an elegance to the action that plays well off of the young fiery Sawayama as his daughter. We also get Scott Adkins in a fat suit fighting Wick. And all of them get plenty of time to shine and for that, I am exceedingly grateful.
In this fourth outing, Stahelski focuses a lot on gunplay and I do miss the wild variety of action that we saw in the earlier film. But he does find ways to feature his "gun-fu" in a series of set pieces that will make your jaw drop in awe. "Chapter 4" starts a bit slow but ramps up at the end in a particularly spectacular way. So the gunplay takes place during a car chase around the Arc de Triomphe or up the seemingly endless steps to Sacred Coeur. So not only does he put the location to work in determining the action, but we also get gorgeous landmarks. He also does an incredible single take, high-angle shot that follows Wick from room to room in a kind of video game action sequence. So while almost all the action involves guns, Stahelski is still trying to find ways to innovate.
As a former stuntman Stahelski understands the breathtaking beauty of fight choreography and stunt work. Then he makes sure we appreciate it, too, by allowing it to play out in long, wide, gorgeous shots. He takes his cue not only from Hong Kong action but also from silent film clowns like Buster Keaton (who were really the first stuntman).
But Stahelski does not focus his attention solely on the action. He gives the film a rich visual style that pays meticulous attention to production design, costuming, music, lighting, cinematography and editing. It is a film that feels well-crafted throughout even though some may dismiss it as just an "action film."
Stahelski and his very game star Reeves have raised the bar on the action genre and set a new gold standard.
And a final sad note: Actor Lance Reddick, who brought the character of Charon, the concierge of the Continental to life, died shortly before the film's opening. He added such class to the role and the film. He will be missed.
