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Dear Mr. Wick, welcome return. With “John Wick: Chapter 4,” which was intended to be released almost two years ago, director Chad Stahelski and star Keanu Reeves have made a comeback to the big screen four years after “John Wick: Chapter 3 – Parabellum.” Believe me. The delay was worthwhile. The final hour of this film ranks among the best in its category thanks to Stahelski’s distillation of the mythology-heavy approach of the last few chapters with the focused action of the first movie.
In the beginning of “John Wick: Chapter 4,” Reeves’ titular character finds himself once more on the run from the High Table, the evil Powers That Be. The Marquis de Gramont (Bill Skarsgrd), the head of the High Table, is the main antagonist of the series. He continues raising the price on Wick’s head while also clearing up the messes left behind, including possibly eradicating Winston Scott (Ian McShane) and his involvement with this evil group. Wick travels to Japan in the opening scenes, where he meets Shimazu (Hiroyuki Sanada), the leader of the Osaka Continental, and bumps into Caine, a blind assassin from the High Table. (the badass Donnie Yen). Shamier Anderson plays an assassin who appears to be waiting for the price on Wick’s head to reach the proper level for him to receive his reward, and Laurence Fishburne occasionally makes an appearance as Wick’s Q when the murderer requires a new bulletproof suit. Despite the film’s epic length (169 minutes), the plot feels more tightly concentrated in this one than in the previous two movies. Introducing John Wick. These are the villains. Go!
And they proceed. Action scenes created by Stahelski and his crew have a paradoxical sense of urgency and artistic choreography. Filmmakers who overthink their shootouts frequently choose a tone that feels remote, devoid of stakes, and more fashionable than compelling. The best action filmmakers are able to capture battle without sacrificing tension for spectacle. The combat scenes in “John Wick: Chapter 4” are drawn-out gunfights between John and numerous opponents who misjudge him, but they move along quickly enough to avoid becoming tedious.
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Additionally, the stakes are very clearly outlined. John and an adversary settle on the time, resources, and other details of a battle at one point in the movie. However, this is actually true of all the main action scenes, where we are very clear on what John must do and who he must interact with in order to “finish the level.” Objectives can be simple while still allowing for intricate routines. We are aware of what must take place for John to continue moving forward as he has done since the start of the first movie. The “Wick” films have such brilliant clarity of purpose that they can then have fun within those basic constructs. So much contemporary action is cluttered with characters or muddled objectives.
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a lot of joy. Here, the action’s choreography can be absolutely stunning. I adored how frequently events take place around Wick and his unlucky adversaries. Wick has to fight a makeup-covered Scott Adkins and his legion of unfortunate idiots in a crowded nightclub, in a scene that would rank as the best in almost any other recent action film (but is more like third or fourth here). The performers are oblivious to it. They occasionally split a little to let them pass, but they don’t pause and look at them. The writhing and dancing bodies provide such a creative visual background as water pours into the club. Later, Wick and his predators engage in combat in the traffic loop surrounding the Arc de Triomphe, which is one of my all-time favorite action scenes. The vehicles do not halt. In fact, it seems like they are moving faster. In this movie, no one opens the window to look outside as shots play out in the streets. The mythology of this world and the outside world almost make it seem as though the legendary assassin and the hundred or so victims he ends up murdering are invisible to them. It’s an intriguing and aesthetically arresting decision.
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There is also what I would refer to as “action geography.” Numerous attempts have been made to emulate the frantic style of the “Bourne” films, but the outcomes have frequently been more incoherent than not. Stahelski works with the incredible photographer Dan Laustsen, who frequently collaborates with Guillermo del Toro on films like “The Shape of Water,” “Nightmare Alley,” and more, to ensure that the action is clear and unambiguous throughout. Amazing stunt work is done, and once more, the shoot-outs have more in common with dance routines than the drab plot-pushing of so many studio movies. Every time Wick goes to work, there is just so much elegance and creativity.
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Of course, a fantastic ensemble also helps. Even though Reeves has the fewest lines of any actor in the series thus far, he fully sells Wick’s dedication while also giving him an exhausted emotional quality that heightens the gravity of this chapter. The survivor Wick of the third movie is a distinct character from the vengeful Wick of the first, and Reeves is fully aware of what this character requires. Many actors would embellish a character that is already so well-known, but Reeves is shrewd in streamlining his performance to suit the story around him. It also gives a few fans, notably Yen and Anderson, the chance to excel in various performance registers. Not only in battle, but also in the intermissions, the famous Yen excels. Most people who are familiar with Donnie Yen won’t be shocked to learn that he fits in here exactly, but he goes above and beyond what you might anticipate. In his role as a man who appears to be a mercenary waiting for the perfect opportunity, Anderson also delivers a fun performance. However, fans of the series will immediately notice that this badass has a dog, and this universe values puppies and people who love them.
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The only chink in Wick’s otherwise flawless armor is a little piece of narrative self-indulgence. I do believe there is a slightly shorter (if you can say 150 minutes would be tight) version of this movie that is just perfect because there are a few scenes, particularly early on, where it feels like a beat is going on a bit too long.
Fans won’t give a damn. In the post-pandemic, streaming-heavy world, much has been said about what draws people to the movies, and this is a film that deserves to be seen with an applauding, enthusiastic audience. It exudes the infectious energy we adore in action movies, with a large audience gasping in awe at the creativity and intensity of what’s happening in front of them. It’s a movie intended to be heard and seen in a big way. John Wick has put up a fight to get it.
This evaluation was submitted from the 2023 SXSW Film Festival’s North American premiere. On March 24, “John Wick: Chapter 4” will premiere.
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