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| Baba Yaga |
All great movies are great for their own reasons: dramas aren't necessarily better movies, out of hand, than comedies. Or sci-fi films. Or even the much derided Summer Blockbusters. When a movie sets up a vision, and executes it, it can be said to be great. John Wick came along in 2014 and blew me, and many others, away with its stylish imagery, slickly choreographed action scenes, and sly world building. It wasn't what most would consider "great art," or even the "pinnacle of cinema." But it was a great film, nonetheless. I have been waiting for the sequel every day since I walked out of the cineplex that fated day in October, three years ago. A second film would be a crucial point for the franchise, and the talent behind the camera: was the first film a flash in the pan, a fluke? Or could lightning be bottled twice?
Synopsis:
John Wick, fresh off his assault of the Russian criminal element, tries to return to the shambles of his "life." But he is pulled back in to the underworld he left behind to fulfill a debt he incurred years ago. On the job that got him out of the business in the first place. He then kills everyone. Again.
Pros:
Gun-Fu: The choreography on the first John Wick was inspired, exact, and beautiful. The second film sees the players mastering the art they presented so confidently in the first. Director Chad Stahelski knows when to backlight a tunnel with splashes of colorful light, to zoom in on a perfectly framed face, or to let the camera swoop and flow with the action. I have no idea if the things John Wick does with his guns are realistic, or actually tactical. But they FEEL real. The stunt team, and Keanu Reeves, have committed to each tactical roll, each flared reload. There are times where John just chucks his empty gun at an enemy. By the end of the movie, one feels that Keanu Reeves might actually be the most deadly dude in the world. His moves are consistent and precise. This is aided, largely, by the fact that Keanu is actually doing these stunts. He's getting older, but he is in fine form. It feels like America finally has an answer to Asian cinema's artful kung-fu masterpieces. We added something unique from American culture: our obsession with guns.
World Building: The first film hinted at a larger world that seemed ripe to be explored. The second film presents us a deeper glimpse into that world, without fully tipping its hand. It feels like there's even more of the world to be developed in future installments, and that is exciting. In this movie we get an Italian Continental Hotel, the neutral zone and home base for assassins all over the world. We get The Sommelier, who deals weapons like fine wines. We get an elaborate backroom where tattooed women in fifties chic deliver mass messages about various contracts. We get Laurence Fishburne as a Hobo-King. We even get a scene where Ian McShane's Winston flexes his muscles for John, showing him how much power and influence he actually wields. And it is more than a bit terrifying. This world still has avenues to be explored. The second film does an admirable job of fleshing the world out without tiring it out.
No Dead Puppies: The dog doesn't die this time. The first film uses the death of John's puppy to largely excuse the death of every single gangster Wick faces later. It is largely effective. The second film, wisely, avoids repeating that plot point, having its villain, instead, make a grander attempt at destroying John's life: blowing up his house. It would have been callous to return to the dead dog well: I'm glad they didn't.
Balance: The world of this film is bonkers. Assassins freewheel around the streets, blowing each other's brains out, having brawls on subway cars, and even trying to snipe each other with silenced pistols across crowded escalators. Everyone in this criminal underground uses fancy gold coins. For some reason, everyone has an old rotary telephone. They utter biblical comparisons and speak in a language that is right at home in an anime. But the film never takes itself TOO seriously. There's always a hint of humor lingering around each corner. The filmmakers have balanced excessive violence with charming world-building, and deadly-seriousness with sly jokes to great effect. What you get is a film that knows exactly what it is. Earlier I talked about great movies executing precise visions. You won't find a more precise vision than the one presented in the John Wick films.
Earns its Existence: This film roots its reason for existence in the outcome of the first film. The film's villain would have been content to let John be, if he hadn't returned to the life in the first movie. But, because John did come back, the villain feels justified in calling in his "mark." It really does feel like the second chapter of a larger story, instead of a quick cash-grab. What's more, the ending of this movie ably sets up at least one more film. I think a third film is, realistically, all of the gas that this franchise has in it, but I will definitely be tuning in to wherever it goes from here. The filmmakers have earned that loyalty from me.
Sound: Most fight movies ignore sound editing, or assault your senses with as much explosions and thumps as you can handle. In John Wick, each punch sounds different, each shout or grunt is audible above the fray. Even the guns get differentiated sounds: shotguns, assault rifles, silenced pistols. The final gunshot of the film is delivered at maximum volume, echoing in the scene's established silence. It is very effective, dramatically. Sound design is not something a lot of people pay attention to, but good sound design demands to be recognized. When a film can pull off lush visuals, and pair them with dynamic soundscapes, you wind up with effective filmmaking every time.
Cons:
Not For Everyone: That being said, not all "great films" are great for everyone. This film might not be for you. It is violent. It is absurd. If the first film, or others of its ilk, did nothing for you, neither will this one. Turning your brain off for two-or-more hours is an essential skill, here. If you can't just turn off and enjoy the ride, maybe stay away from this one.
Slow Build Early On: The first act of this movie moves slowly. We get an excellent opener sequence, but then the movie slows down. It then begins a slow build to the catacombs sequence. I think, ultimately, this was a good decision: it makes the last half of the movie feel like a whirlwind. But some people might be off-put by the pace early on.
The Stakes: The first film excused John's terror spree with the deft sacrifice of a symbol of innocence. The second film struggles to match those stakes. They do an admirable job, but fail to give John the moral out that he had in the first movie. But then, maybe that's the point this time around. There is a lot of talk about John Wick being unable to escape what he is, which is a killer. Perhaps this series is about a damned man burning the world around him down, regardless of his motivation. Anyway, it might stick in your craw a bit.
Keanu: There are those that accuse Keanu Reeves' acting style as being "wooden," and "stiff." And they aren't wrong. If you don't like Keanu, you probably won't like him here. I do, however, think that this is a role tailor-made for him. His stoicism fits John to a T. He inhabits the role naturally, and the script plays to his strengths by having John remain a largely silent character. They give him a bit more to say in the sequel, but still keep him quiet, which is good.
In Conclusion:
John Wick: Chapter 2 does what all good sequels do: expand the world and refine the formula. The series soars largely on the strengths of its unique world and extravagant fight sequences, as well as its beautiful construction and editing.
Should You See It: The John Wick series continues to be the pinnacle of modern action moviemaking. It dances to its own tune, sacrifices little, and swings for the fences consistently. If you are a fan of action movies, consider this a must. If you like your violence served like fine ballet, with a keen eye for framing and clever editing, this is a movie for you.
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