This movie has been characterized by critics as "worth two years' wait" (delay in release date). That is obviously in the context of Wick's fans, who know what to expect. A simple illustration. In one scene, one character has his hand nailed to a table by a sharp knife that goes right through the plump flesh joining the thumb and the index finger. Asked to choose between pulling the knife away and pulling the hand away, he chooses the hand! That is, without moving the knife, he drags his hand away clear of the blade. John Wick stuff. Just hope it is your cup of tea.
This movie is an action symphony of three movements. Plot is almost non-existent, a plus. The movie is all about killing John Wick (Keanu Reeves), or killing "the idea" of John Wick, if you want a little philosophical spicing. Along the way, Wick entertains an assortment of opponents, all deadly, needless to say. The opponents however do not necessarily target only John. They fight each other, or at least each other's goons, as they all want the prize, Wick, for themselves.
The omnipotent "Table", now headed by the vain French Marquis (Bill Skarsgard), is gung-ho on taking Wick out. Marquis recruits an old friend of Wick, a blind assassin called Caine (Donny Yan), making him now a frenemy of John. A bounty hunter with "an emotion support dog" (or is he emotionally supporting the dog? I'm confused), offers his service to the Marquis for 35 million dollars, later raised to 40. When this Tracker (no other name) yells "nuts", you know where the dog goes straight for, in the anatomy of a target victim.
The scene of the first movement is a plush hotel in Osaka, where old friend (apparently Wick has many) Shimazu (the inimitable Hiroyuki Sanada from "Twilight Samurai"), with is badass daughter Arika (Rina Sawayama), harbours Wick. All hell break loose when the Table's goons descend en mass. Apologies for repeating what is said about a John Wick movie: if you are toying with the idea of doing a body count, forget it, or seek help from an AI. It also pitches frenemies Wick and Caine against each other, with both coming out unscathed. Other combatants show up too, including Tracker and dog. This entire lengthy movement is a joy to watch from beginning to end, shot brilliantly with abundant varieties in camera angle, colour scheme, light-and-shade, movements choreographed and solid, and of course the iconic gun-fu melee style to which Wick movies can rightfully claim patent. Great, matching funky music too.
The middle movement starts in to Russian where Wick, seeking help from a kingpin that he does not know has died, is now at the daughter Katie's mercy. The set piece is at the lair of massive Killa (Scott Adkins), the man who killed Katie's father. It's difficult to surpass the first movement, but the second one holds its own, with axes as the main theme. Caine and Tracker, needless to say, wouldn't miss the party. Towards the end of the endless struggle, Killa, in frustration, flashing his teeth that reminds you of Jaws in the James Bond movie, yells at Wick "Why don't you just die!" The victory regains Wick's place in the Russia brotherhood, with a family crest that puts him into a position to be able to challenge the Marquis to a single, one-on-one combat.
The final movement is set in the City of Light, but ironically reaches its climax when light yields to the rising sun. I wouldn't disclose the exciting journey through a night in Paris that Wick goes through to make it to the combat venue just before sunrise, to be allowed to take part in the duel. I have already said too much and wouldn't dream of spoiling your enjoyment of this superb finale of the nearly three-hour movie. Just absolutely top-notch, a worthy conclusion of this fourth John Wick movie.
On the cast, in addition of those already mentioned, there are Ian McShane as Winston, sort of advisor to Wick, and Laurence Fishburne as Bowery King who to Wick is as "Q" is to Bond. Must be mentioned however is Yan, who is close to being a co-lead here. In addition to being assigned what he does best, he also gets a couple of profound philosophical lines such as "The dead are gone. Only the living matters" or "see you in the next life, brother". Caine and Wick reflect off each other, and hence bot shine brightly.
This movie is an action symphony of three movements. Plot is almost non-existent, a plus. The movie is all about killing John Wick (Keanu Reeves), or killing "the idea" of John Wick, if you want a little philosophical spicing. Along the way, Wick entertains an assortment of opponents, all deadly, needless to say. The opponents however do not necessarily target only John. They fight each other, or at least each other's goons, as they all want the prize, Wick, for themselves.
The omnipotent "Table", now headed by the vain French Marquis (Bill Skarsgard), is gung-ho on taking Wick out. Marquis recruits an old friend of Wick, a blind assassin called Caine (Donny Yan), making him now a frenemy of John. A bounty hunter with "an emotion support dog" (or is he emotionally supporting the dog? I'm confused), offers his service to the Marquis for 35 million dollars, later raised to 40. When this Tracker (no other name) yells "nuts", you know where the dog goes straight for, in the anatomy of a target victim.
The scene of the first movement is a plush hotel in Osaka, where old friend (apparently Wick has many) Shimazu (the inimitable Hiroyuki Sanada from "Twilight Samurai"), with is badass daughter Arika (Rina Sawayama), harbours Wick. All hell break loose when the Table's goons descend en mass. Apologies for repeating what is said about a John Wick movie: if you are toying with the idea of doing a body count, forget it, or seek help from an AI. It also pitches frenemies Wick and Caine against each other, with both coming out unscathed. Other combatants show up too, including Tracker and dog. This entire lengthy movement is a joy to watch from beginning to end, shot brilliantly with abundant varieties in camera angle, colour scheme, light-and-shade, movements choreographed and solid, and of course the iconic gun-fu melee style to which Wick movies can rightfully claim patent. Great, matching funky music too.
The middle movement starts in to Russian where Wick, seeking help from a kingpin that he does not know has died, is now at the daughter Katie's mercy. The set piece is at the lair of massive Killa (Scott Adkins), the man who killed Katie's father. It's difficult to surpass the first movement, but the second one holds its own, with axes as the main theme. Caine and Tracker, needless to say, wouldn't miss the party. Towards the end of the endless struggle, Killa, in frustration, flashing his teeth that reminds you of Jaws in the James Bond movie, yells at Wick "Why don't you just die!" The victory regains Wick's place in the Russia brotherhood, with a family crest that puts him into a position to be able to challenge the Marquis to a single, one-on-one combat.
The final movement is set in the City of Light, but ironically reaches its climax when light yields to the rising sun. I wouldn't disclose the exciting journey through a night in Paris that Wick goes through to make it to the combat venue just before sunrise, to be allowed to take part in the duel. I have already said too much and wouldn't dream of spoiling your enjoyment of this superb finale of the nearly three-hour movie. Just absolutely top-notch, a worthy conclusion of this fourth John Wick movie.
On the cast, in addition of those already mentioned, there are Ian McShane as Winston, sort of advisor to Wick, and Laurence Fishburne as Bowery King who to Wick is as "Q" is to Bond. Must be mentioned however is Yan, who is close to being a co-lead here. In addition to being assigned what he does best, he also gets a couple of profound philosophical lines such as "The dead are gone. Only the living matters" or "see you in the next life, brother". Caine and Wick reflect off each other, and hence bot shine brightly.