John Wick 4

“John Wick: Chapter 4,” which was intended to have premiered in theatres nearly two years ago, is the follow-up to filmmaker Chad Stahelski’s “John Wick: Chapter 3 – Parabellum,” which came out four years ago. Starring Keanu Reeves. Believe me. The wait was worthwhile. A closing hour that ranks among the finest of the genre is produced by Stahelski, writers Shay Hatten and Michael Finch, and a combination of the simplified action of the first film and the mythology-heavy approach of the last couple of chapters.

The titular character of “John Wick: Chapter 4” finds himself once more evading the evil Powers That Be, referred to as the High Table, as they stand in his way. The series’ primary antagonist is the Marquis de Gramont (Bill Skarsgård), a High Table commander who persistently raises the bounty on Wick’s head while also tidying up the mess he’s left behind, which may involve destroying Winston Scott (Ian McShane) and his involvement in this evil organisation. Wick travels to Japan in the opening moments, where he befriends a blind High Table assassin named Caine (the fierce Donnie Yen) and asks Shimazu (Hiroyuki Sanada) for assistance. When the murderer requires a new bulletproof suit, Laurence Fishburne occasionally appears as Wick’s Q. Shamier Anderson portrays an assassin who appears to be waiting for the correct amount to be placed on Wick’s head so he may get paid. Despite the epic duration of 169 minutes, the plot feels refreshingly concentrated once again, unlike the previous two films. This is John Wick. These are the evildoers. Proceed!

And they proceed. Action moments created by Stahelski and his crew have a way of feeling simultaneously intense and beautifully choreographed. Filmmakers who overthink their shoot-outs frequently end up with a tone that is aloof, without much at risk, and more elegant than real. The best action filmmakers know how to capture combat without sacrificing suspense in the name of spectacle. The action scenes in “John Wick: Chapter 4” include of protracted gunfights and shootouts between John and numerous underestimating individuals, yet they don’t drag on too long because of their tremendous momentum.

Their stakes are also excellently delineated. During a scene in the movie, John and an adversary deliberate on the conditions of a fight, such as the weapons, time, and factors. This is actually the case for every significant action scene, though, since we are made quite clear about John’s objectives and the people he must overcome in order to “finish the level.” The goals’ simplicity makes intricate choreography possible. We are aware of what must occur in order for John to continue moving forward as he has done from the start of the first movie. A great deal of contemporary action pictures have convoluted goals or an overabundance of characters, but the ‘Wick’ films have such a clear sense of purpose that they manage to have fun even inside those straightforward frameworks.

So enjoyable. The action’s choreography in this scene can be very amazing. I adored how frequently Wick and his sad fighters are surrounded by the outside world. In a scene that could easily rank third or fourth in any other recent action film, Wick faces off against an army of unfortunate fools led by a makeup-covered Scott Adkins at a packed nightclub. Seldom do the dancers notice. They don’t pause to gaze; they occasionally part slightly to allow them to pass. The writhing and swaying bodies create such an innovative visual backdrop as water pours into the room. Afterwards, Wick and his predators engage in combat in the traffic circle surrounding the Arc de Triomphe, in one of my all-time favourite action scenes. The vehicles keep going. In fact, they seem to be moving more quickly. In this movie, gunfire resound across the streets, yet nobody opens the window to investigate. The mythology of this world and the world outside of Wick provide the impression that they are unable to see the fabled assassin and the roughly hundred victims he kills. It’s an intriguing and eye-catching decision.

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And then there’s action geography, if I may use that term. The frantic style of the “Bourne” films has been imitated by a great deal of people, but the results are frequently more inconsistent than not. Together with Guillermo del Toro, the great cinematographer Dan Laustsen (who worked on “The Shape of Water,” “Nightmare Alley,” and other projects) collaborates with Stahelski to ensure that the action is precise, harsh, and never confusing. Again, the shoot-outs feel more like dance choreography than the rote plot-pushing of so many studio pictures. The stunt work is outstanding. Wick always works with such grace and inventiveness.

Naturally, a fantastic cast also helps. Even though Reeves has less lines than any other character in the series, he convincingly conveys Wick’s dedication and an emotional weariness that heightens the significance of this chapter. Three films later, Wick is a different, survivor than the furious Wick of the first movie, and Reeves understands just what this character needs. A lot of actors would overdo it for a character who is already so well-liked, but Reeves is astute in cutting this portrayal down to better suit the movie. Additionally, it gives some supporters—particularly Yen and Anderson—the chance to excel in several performance registers. Here, the fabled Yen excels not only in battle but also in the intermissions. Donnie Yen fits right in here—most people who are familiar with him won’t be shocked to hear that—but he goes above and beyond what you might anticipate. While Anderson plays a humorous character who seems to be a mercenary looking for the right deal, viewers of the show will immediately see that Anderson is a badass who owns a puppy, and this planet is full of people who adore animals.

Wick’s armour is only slightly tarnished by a small amount of narrative self-indulgence. There are certain parts, particularly in the beginning, where it seems like the rhythm is going on a little too long. I also believe there is a slightly shorter version of this movie—let’s say 150 minutes would be short—that is just as good.

Fans won’t be bothered. In the post-pandemic, streaming-heavy era, a lot has been said about what draws people to the movies, and this is one of those films that should be viewed with an enthusiastic, cheering audience. It has that infectious energy we adore from action flicks, with everyone in the room gasping at the creativity and drama of what’s happening in front of them. This is a film best viewed in a large, loud theatre. John Wick: Chapter 4 put in a lot of effort to earn it.