[ad_1]
John Wick published in 2014, was the story of an all-powerful hired killer who executed 86 nasty people in retaliation for the death of his puppy. With his main character, a cross between Chow Yun-Fat in The Killer and Shaggy in Scooby-Doo at the time, it looked like a slab of escape pure and swollen. Two suites later, it now looks like a piece of gritty social realism. The follow-up introduced designer costumes to bullet-proof and sumo killers. And now, the gloriously loud John Wick: Chapter 3 – Parabellum (surely a title that no one has ever uttered) pushes the volume dial even further, deepening the dilapidated mythology and delivering a series of The fights of bushido are as inventive as they look sparkling. And they have a lot of inclinations.
It's hard to imagine that everything works without Keanu Reeves. There is a fascinating dichotomy between John Wick on which villains murmur – a man so mortally mortal that he has nightmares of ninjas – and the gentle carelessness of Reeves, a star with a sweet, friendly face. As he carelessly walks from one corpse to another, it's impossible to take his eyes off – after decades of movies like these, Steven Seagal or Jason Statham, it seems like his zen air makes it all fresh . . All this is part of the dry spirit of Wick movies: they are completely polite, even when, as in the first ten minutes of Parabellum the hero deploys book-fu to eliminate an attacker to the library public of New York. It's a comedy in which the characters rarely smile. It's the self-gravity that makes the game so much fun.
The frequent and macabre dust is beautifully orchestrated.
The edification of the world, tentatively explored in the first film, is here pushed up with great confidence. . It has become clear that the planet John Wick lives on is no longer ours – it is a planet in which obsolete flip-phones and computers are still in use, in which there is neon everywhere in which huge hotels designed for murderers, never have to deal with confused tourists, and in which one in three is, at any one time, en route to shoot someone at the head . It does not make sense, but go ahead and it's great. Never again here, with John forced to leave New York and head to the Middle East, at some point filling John Wick of Arabia. (That says a lot about the effectiveness of the internal logic of these films: one never wonders why the desperate and on-the-go hero tries to pretend to be a disguise.) Actor Cult, Jason Mantzoukas, is underutilized as it actually says "Tick-tock", and the last ten minutes falter somewhat to give a satisfactory resume, but otherwise, Wick's work becomes bigger and richer, filling up even some empty of his past. 19659005] It's in action, however, that Parabellum really delivers its fruits – you should prepare yourself, if not at war, at least at the sight of the knife that's stuck. sinks into the eyes of someone. The rubbish, frequent and appalling, is beautifully orchestrated by director Chad Stahelski and his team of stuntmen, smashing more glbad than Jackie Chan's Policeman Police Story and throwing into a horse chase that makes it victim. True Lies resemble a tamed trot. The crew of The Raid presents itself for a raging confrontation, while Halle Berry makes a strong impression with little time in front of the screen, as John's equally keen acquaintance, not for a lame novel but for a thorny setting. piece with canines in bulletproof vest. "Art is pain, life is suffering," mumbles someone at some point. Well, maybe, but at least in this movie, suffering is an endless distraction and suffering that you will want to go back. Where can you find Samurai dogs and a Tarkovsky reference?
Source link
