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John Wick, angel of death, liberator of bullets in the head, the man in black bullet-proof suit. Even in its own cartoon reality, the strange world of super-assassins and well-dressed henchmen was introduced in 2014 John Wickis a mythical figure – the crew of the Russian crowd, incarnation of "concentration, commitment and pure will of Energizer Bunny". No matter what one might think of Keanu Reeves' merits as an actor, the role of Wick's elegant ceremonial apparel seemed to be as tailored to him as ever; it could even exceed The matrixNeo is his best offer for the pantheon of action movies. Wick is a white, an archetype, an unstoppable avenger in a world of Byzantine rules. He once killed three men with a pencil, and in the first minutes of the heavy John Wick: Chapter 3 – Parabellumhe sends a great assailant with a library book. Wick being Wick, he makes sure to put him back on the board when he's done.
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Keanu Reeves, Mark Dacascos, Ian McShane, Kate Dillon, Halle Berry, Laurence Fishburne, Lance Reddick, Anjelica Huston
Availability
Theaters everywhere on May 17th
L & # 39; original John Wick, led by David Leitch and Chad Stahelski (two experienced stuntmen who worked with Reeves on Matrix films), introduced the character with a delusionally simple premise: they killed his dog, and now he is ready to take revenge. Of course, it has never been just on the dog, but on the order, the cause and the effect, the code and the promise to start all over again. In addition to presenting some of the best choreographed action scenes of the 2010s (the electrochromatic film from the Red Circle nightclub is just a highlight), the film also establishes its own alternate universe, as well as the memorable setting of the Continental, a luxurious Manhattan hotel whose manager, Winston (Ian McShane), and the well-appointed concierge, Charon (Lance Reddick), were exclusively dealing with the population of high-end contract killers.
Parabellum opens just a few moments after the end of Chapter 2 (that is to say, just a few weeks after the events of the first film), with Wick on the run in New York. He broke a fundamental rule by running the blood on a neutral ground and it remains less than an hour before he is officially declared "excommunicated" by the High Table, the governing body that rules the crime, with a premium of $ 14 million (soon $ 15 million) million) on his head. It has become a kind of joke of this series everyone seems to be part of this secret underground world – that any indomitable or homeless commuter could turn out to be a well-trained assassin. But like Chapter 2 clearly said, this is a little point. the Wick-vers, which owes more than little to the scandalous criminal worlds of Seijun Suzuki Mark to kill and Quentin Tarantino's Kill Bill, is a place of facades, manners and obligations. The rules, as a character tells us Parabellum, "Are the only thing that separates us from animals."
These films have always been successful in creating a larger and more elegant world than some Disney franchises in which characters regularly visit space. It could be argued that this is one of the many clues that the Wick movies take the original Matrix, which Parabellum quote generously, beginning with the torrential rain that covers many of the first scenes. Here, we quickly discover a school of assassins disguised as a dance academy (it turns out that Wick's alma mater) is chaired by a head of the Russian judicial police (Anjelica Huston) who runs the business in a room filled with Caravaggios. (The most prominent is, of course, Judith beheading Holofernes, a representation of Biblical vengeance.) And there's also a delightfully sadistic new villain, in the form of Zero (Mark Dacascos), a sushi chef who runs a gang of master gunsmiths and an ally of sorts in Sofia ( Halle Berry), a dog-loving companion who runs the Continental branch in Casablanca and owes Wick a debt of blood.
But there is also the adjucator (Asia Kate Dillon), a kind of judge and jury sent by the high table to clean up Wick's mess and extract the penance from all those who have helped him all along of course, including Winston and King Bowery (Reeves). Matrix costar Laurence Fishburne), leader of a panhandlers union. Parabellum does not have the irresistible simplicity of the first John Wick or the mythological art of Chapter 2, and although its opening stretches with the dynamics of a surreal prosecution sequence, the arrival of the CWOator marks the beginning of his narrative problems. While Wick escapes Morocco to reach an agreement with "the man who sits above the high table", the film keeps rereading the new and established characters, periodically wheezing out in order to avoid the 45 minutes that followed the opening of Chapter 2 never done.
Be a John Wick movie, Parabellum again Strahelski (who works again with Dan Laustsen, director of photography, better known for his work with Guillermo del Toro) continues to achieve a level of success while making the most of Reeves' physical commitment to the role. Wick remains the artist of the Glock, the lock of the leg and the touch, stripping the cool killer of killers with a philosophical tendency as CollateralVincent and the SamuraiJef Costello at the level of the movement. Its advantage is reflex, and its refills are softer than melted butter; he seems to be moving without having to think about it. Parabellum makes comparisons with choreographed dance obvious (see: the aforementioned ballet school), but in many ways, the violence is more cruel and more caricatural than in its predecessors; the number of bodies could be in triple digits, and it involves many broken heads, crushed and blown.
But if Parabellum offers at least two action scenes that rank among the best in the series – a knife fight with which fighters must constantly shoot themselves to throw themselves against each other, and a fight that could set the record for the greatest number of times a character was thrown through a showcase; his two biggest pieces of the board are tired and oppose Wick and his allies to endless waves of faceless minions. The wick is unstoppable. Do the movies know where to stop?
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