John Wick Chapter 4 Review is our topic today, so read it carefully and read. It would have been best if they had left the wretched puppy alone. Instead, a bunch of sly Russian goons stole John Wick‘s car and murdered the small beagle his late wife had just given him. This led to the beginning of a Wick-iverse that is so gory and ornate that it has chapters.
Nearly ten years ago, it all started as a fun, low-stakes standalone game on Keanu Reeves’ extensive resume. Over time, it evolved into an intricate mythology full of High Tables, gold medallions, and international murder hotels. This has given the 58-year-old star of the show an entire second midlife franchise outside of The Matrix—or a third if three Bill and Teds separated by thirty years count.
More About John Wick Chapter 4 Review
With a duration of 169 minutes, John Wick: Chapter 4 is the most extended and unrelenting installment yet. It is set to release in theatres on March 24. Taken to its deliciously irrational conclusion, it is the platonic ideal of a globetrotting meat bag action thriller. As a moviegoing experience, it is also plainly ludicrous and mainly extremely fun.
After his misdeeds in Chapter 3, Reeves’ Wick is still persona non grata as Chapter 4 begins. He was tossed off a rooftop to certain death and was branded “excommunicado” for the unlawful slaying of a High Table criminal lord. However, scars mend, and bad guys surface again. Or are replaced, Hydra-style, by another Very Bad Man: Bill Skarsgård plays the pretentious Marquis de Gramont, a fussy French dandy who stalks around his many chateaux dressed in fitted silk and velvet suits a la Little Lord Fauntleroy, concocting mysterious schemes.
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It isn’t really important why the Marquis wants John dead again, but he’s set a price on his head, which dozens of Wick’s fellow contract killers will gladly jump to fulfill. Some, however, like the venerable hotel manager Winston (Ian McShane) and the deposed High Table leader, the Bowery King (Laurence Fishburne, in a glorified cameo), continue to be devoted allies. Additionally, there’s his former partner Caine (Donnie Yen, famous in Hong Kong), an impeccably stylish blind assassin whose seeming infirmity only increases his lethality.
Following a short and bloody stay in the Middle East, Wick seeks refuge in the Tokyo hotel of an old friend, Shimazu (played by the legendary Hiroyuki Sanada of Bullet Train). Though his daughter Akira (pop singer Rina Sawayama, who deftly steals numerous scenes) fervently wants this intruder out, Shimazu gamely gives shelter and the wet-work services of his best men, knowing that whatever John touches tends to end up in the morgue.
She is not incorrect; while Wick wreaks unimaginable havoc across many countries, the show’s seasoned director, Chad Stahelski—who was formerly Reeves’ stunt coordinator and Matrix stand-in—does what he does best: inventive killings, exotic zip codes and uncountable body counts. He appears to have let his inner self (or at least his location budget) loose in several of the tableaus in film 4. He’s already set a standard with his previous films, which included bathtub bloodbaths, horse kung-fu, and motorcycle sword fights on the Brooklyn Bridge.
Massive scenes take place in a soaring industrial nightclub in Berlin and a well-kept Japanese garden; there’s a logistically impossible fight in the middle of the Arc de Triomphe amid fast-moving traffic, and another takes place on a steep Parisian staircase that looks more like a Jacob’s Ladder for unfortunate would-be assassins. (Whether deliberate or not, the fact that it also turns into inadvertent slapstick feels like a bonus.)
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It’s all simultaneously blinding and numbing, a dizzying whirlwind of senseless killing and never-ending sensory overload that rarely pauses for something as mundane as a snack or a snooze. (In actuality, Wick never eats or sleeps while on television; apparently, retaliation is a food with its black nutrition.) Since the first volume, John has been a mourning widower and doesn’t try any romanticism. Although he may come to love another dog—this one has a playful German shepherd—his human heart still belongs to the recently deceased Mrs Wick.
So how does something over three hours of wham-bam noise and foolishness, devoid of any deeper storyline, operate as well as it does? Conscripted into alpha-supreme status against his choice, Reeves has always been an improbable action star, even while his Zen-lord character seems to betray some innate, unshakeable benevolence. His Wick is prolific but never sadistic; he murders because he must, usually swiftly and cleanly, though he’s not above a cruel taste of bibliography. (There’s also a sweet, lighthearted interaction with the actors he lets go, especially Yen.)
Summary
When Wick does speak on screen, which is rare, he frequently has the voice of John Wayne slowed down to 33 rpms, with each syllable sounding like a big rock being manfully and painstakingly pushed up a hill. (“I’m heading there). To murder them all. Those stoned-loris line deliveries in a crowded New York screening room elicited loud cheers and laughs from the audience. Still, they also screamed with amazed delight each time he overcame an inconceivable feat of pain or gravity and climbed back up again like a champion Chumbawumba.
Whether playing a cyberpunk hacker messiah, a surfer detective, or a cold-blooded assassin, Keanu Reeves always exudes an unfathomable lightness that makes you want to cheer for him. Even if a spin-off starring Ana de Armas is said to have been wrapped, the franchise’s future is seriously in doubt after all of the drama’s unresolved conflicts and untold collateral damage have been addressed. In the end, John Wick may represent more than just one guy, much like James Bond. But without him, it wouldn’t be the same.
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