Director: Chad Stahelski
Date: 19 August 2017
jamesintexas rating: ***
I've made no bones about loving the first John Wick film, a kaleidoscopically kinetic film which someone in a stroke of pure genius called "the Citizen Kane of shooting-people-in-the-head films" which carried a dark menace of revenge through to its logical conclusion. As a terse, near-silent warrior, Keanu Reeves shined as the eponymous anti-hero, the man who got out of the business but lost his love and then his dog and then cut his way through hundreds of people in a bloody arc of revenge. Here, a high-speed chase scene opens the film with the clattering of a motorcycle rider falling of his bike down a cavernous Manhattan street; meanwhile, an outdoor black and white projection film of the great silent actor Buster Keaton streams on the side of a building overhead. It is an auspicious beginning for the sequel to the marvelous first film, and though it clearly loves its own mythology (and goes a bit overboard with it), John Wick: Chapter 2 has plenty to like and enjoy, along with some stunning camera work and action sequences that showcase Keanu Reeves as a performer capable of incredible movement and grace unleashing hell upon his enemies.
Wick is back and recovers his car before stockpiling his weapons in his basement, again, and pouring cement over them, again. And no sooner has he done that then he is challenged by Santino D'Antoni (Ricardo Scamarcio) to honor a blood-oath coin that he gave him, forcing him out of retirement to do one last job, this time in Italy, which may kill him. The film shuttles from the shimmery lights of NYC to the catacombs and old beauty of Italy as Wick figures out how to fulfill his oath and make his way back to his dog.
The highlights include the underground fighting which is just never-ending and endlessly inventive with Wick stashing weapons everywhere and finding new ways to dispatch his (mostly) faceless enemies. Cassius (Common) proves a formidable adversary and a hold-over from the first film, as does the mostly helpful kingpin Winston (Ian McShane) and Charon (Lance Reddick) who are there to remind us of the rules of this imaginary world with its mysterious coins and decorum of death. Reeves also shines in a hall-of-mirrors sequence with reflection piled upon reflection, a sort of call back to the end of the second Matrix film, with him opening and closing doors like James Bond in Scaramanga's playhouse, but this time it is with lasers and incredible colors and shimmery surfaces.
My only criticisms of the film are that the film overindulges its love with its own mythology and storytelling, has a diminished sense of propulsion through Wick's purpose for doing what he does being less primal and more diluted, and the world-building creaks a bit with the addition of The Bowery King (Laurence Fishburne, underused, though hooray for Matrix reunions!) and the allusions to The Council. Santino is fine as an enemy if not incredibly memorable or menacing. The ending seems ready-built for the inevitable third film, which regardless of diminishing returns, I will be there to see. Keanu Reeves, already a star and icon, proves endlessly watchable in fight scenes that place physical demands on the fifty-three year old that deserve a special Academy Award.
Give Keanu the Oscar!
