Was a wee quiet regarding movie reviewing this year – it’s been busy! But I still managed to get to ‘Barbenheimer’ that took over the world there for a while. All I can say is I’m glad I managed to source a pink hair accessory for the Barbie premiere. It was a very pink affair. And a surprisingly refreshing feminist message that did balance in the end. But like everyone, I’ve never seen a film so blunt – ‘I’m a man without power, does that make me a woman?’
I was more drawn to the thriller genre this year – surprise, surprise, with Saltburn blowing away the cobwebs with its sharp wit and extravagance, but let’s start the list with a documentary that I still think about, particularly while watching the TV series, The Fall of the House of Usher with the documentary about Nan showing in the background to underline the correlation her story had with the series about the evils of pharma, meet photographer and activist, Nan Goldin:
If you’re already a fan of the John Wick franchise, Chapter 4 is obviously a must-see and in my opinion, as good as the previous JW3: the detail, the humour, the dogs, the camera work, those shots from above a seriously successful device to show more of the action… Action at its very best.
Complicated, suspenseful, political, scientific and psychological. It’s a lot.
But that raging fire and those blurred edges and uncertainty around Oppenheimer’s character to then reveal the truth of all those involved in the creation of the bomb added up to a sophisticated film that demanded full attention.
Somehow, Nolan has captured an aberration using Oppenheimer as a voice. And that takes brilliance.
Produced by: Basil Iwanyk, Erica Lee, Chad Stahelski
Executive Producers: Keanu Reeves, Louise Rosner, David Leitch, Michael Paseornek
Starring: Keanu Reeves, Donnie Yen, Bill Skarsgård, Laurence Fishburne, Hiroyuki Sanada, Shamier Anderson, Lance Reddick, Rina Sawayama, Scott Adkins, Clancy Brown and Ian McShane, Marko Zaror, Natalia Tena.
‘Such is life,’ is the playful yet deadly theme in this forth chapter of John Wick, spoken by Winston (Ian McShane), New York manager in explanation of another sour turn of events surrounding the ever-increasing reward for the fulfilment of the Kill Contract for the unstoppable, John Wick (Keanu Reeves).
This time, the Marquis (Bill Skarsgård) of The High Table has been granted the power to do anything necessary to bring John Wick down.
‘Why won’t you die!’
German assassin Killa (Scott Adkins) exclaims through his bloody, gold capped teeth.
Because fueled by his need for revenge, Wick continues to kill anyone in his way towards freedom.
There’re 14 action sequences in this forth chapter, which is four times more than any previous John Wick film.
I didn’t relish the idea of sitting through nothing but fight scenes but the film draws you into the story before the action kicks in. And it’s this attention to the story as well as the mind-blowing action that sets the John Wick franchise apart.
I had massively high expectations after being blown away by John Wick 3, but returning Keanu Reeves in the lead role (he’s also an executive producer here) and director, Chad Stahelski, did not disappoint.
Producer Erica Lee notes, it’s, ‘the “bond and trust” between Reeves and Stahelski that has defined the John Wick franchise. “Chad has given so much to the films for the better part of a decade. Keanu loves the series so much – he’s in every script meeting and casting discussion and has come up with some amazing story ideas. Very few franchises have the consistency we’ve enjoyed with our core team.”
Chapter 4 opens in Jordan, with John riding horseback, riffle in hand, to Japan, Berlin and Paris, so there’s some interesting sets for those explosive action scenes here. And the inventive fights just get more intense from knives, num-chuks, exploding bullets of fire, to cars in traffic used like dodgem cars, where the would-be assassins don’t dodge so much. And neither does John.
Adding to the fight scenes is the additional body armour of the suits worn by John and The Table killers so weapons get added just to make an opening for a kill: thump with a num-chuk to expose a neck for the kill shot.
There are so many moments of cringe and ouch all the while grinning my face off. Particularly the last quarter of the movie – the grin just got wider as the action got ridiculous. In a good way.
The choreography is fast and brutal and smooth like a dance – the sheer number of stunt people in the credits understandable. “Reeves also did precision driving training and horseback riding training, in addition to instruction in many other disciplines. “Over the course of these films, Wick can sign, speak Russian, and, in CHAPTER 4, speak a little Japanese. So, I’m always picking up different skills,” says Reeves.
There’s also a play of light with John’s reintroduction set with a backing of red light so even the cherry blossoms in the background took on a sinister aspect. And that red light continues to follow Wick through-out the film, like an illustration of his unrelenting need for revenge.
In addition there’s thoughtful one-liners thrown in, strangely enough from the villain, the deadly Marquis, like: ‘A man’s ambition should never exceed his worth.’
Has to be said, Bill Skarsgård as the Marquis is genius casting and just one of the worthy additions to the story – The Tracker (Shamier Anderson) with his partner killer dog was a little obvious. But then ended up being one of my favourite characters. There’s also The Harbinger (Clancy Brown) that adds another layer to the story that is The High Table.
If you’re already a fan of the John Wick franchise, Chapter 4 is obviously a must-see and in my opinion, as good as the previous JW3: the detail, the humour, the dogs, the camera work, those shots from above a seriously successful device to show more of the action… Action at its very best.
still managed to get to ‘Barbenheimer’ that took over the world there for a while. All I can say is I’m glad I managed to source a pink hair accessory for the Barbie premiere. It was a very pink affair. And a surprisingly refreshing feminist message that did balance in the end. But like everyone, I’ve never seen a film so blunt – ‘I’m a man without power, does that make me a woman?’