Respond to these rapid questions in our John Wick quiz and we will tell you which John Wick character you are. Play it now.
Just as John Wick thought he was free, they drag him back into the maze.
Another job, heist, or assignment is the tried-and-true formula for success. A long-time criminal retires from the life of crime in search of peace and quiet, but he is inevitably drawn back to his old haunts and habits in order to settle a final score with the law. However, thanks to some spectacular action choreography, stylish visuals, and–most importantly–a vintage anti-hero performance from Keanu Reeves, this tired premise is given exhilarating life in “John Wick.”
After the film’s conclusion, a menacing Russian mobster observes that the veteran hitman John Wick appears to be a striking resemblance to the John Wick from years past. Keanu Reeves also has a distinct resemblance to the Keanu Reeves of yesteryear. Elegantly handsome and athletically lean, he still looks fantastic at the age of 50 and has returned to action-star mode in a comfortable and secure manner. The fact that this later-stage butt-kicking brings to mind Liam Neeson’s recent resurgence in films like “Taken,” “The Grey,” and “Non-Stop” doesn’t mean he’s been away for that long–or that he’s strayed that far from his persona–but it does.
Despite the passage of time, he remains a defining characteristic of Keanu. He exudes a Zen-like calm that makes him both elusive and irresistible, especially when confronted with great chaos and danger. His face retains a childlike quality, despite the fact that he is well past his teenage years. In real life, he knows he’s smarter than his appearance, but he isn’t interested in going out of his way to prove it to you–at least not on screen. He’s just… who he is.
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Having a character like John Wick is right in Reeves’ wheelhouse because it allows him to be coolly, almost mythically confident while still being able to deliver an amusing, deadpan one-liner with detachment. (At this point, traces of the zany characters from his childhood, Ted “Theodore” Logan and Johnny Utah, come to the surface.) In “John Wick,” however, he can deliver with a graceful yet powerful physicality when the situation calls for it–which occurs frequently in the film.
After the death of his wife (Bridget Moynahan), Wick receives an unwelcome visit to his minimalist, modern mansion in the middle of the night. Wick’s wife was the woman whose love inspired him to retire from his life as an expert assassin because of her love for him. His prized 1969 Mustang has been stolen by a gang of Russian bad guys, who also happen to kill his dog in the process. The latter act is heinous in and of itself, but what makes it even worse is that the adorable beagle puppy, Daisy, was given to John as a posthumous gift by his dying wife, who realized he’d need someone else to love after she died.
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By the way, Moynahan’s character is barely even a person in the first place. In a smartphone video clip, she is seen as if she were an image of her own body lying in a hospital bed, suffering from an unknown disease. She’s a bright idea. Wick, on the other hand, is left with a sense of melancholy that permeates his demeanor and influences every decision he makes.)
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Wick does not waste any time in unearthing his hidden arsenal and seeking retribution. However, it is revealed that Iosef (Alfie Allen), the group’s reckless young leader, is the son of a mob boss who was a former associate of Wick’s: mob boss Viggo Tarasov (a sophisticated but terrifying Michael Nyqvist), who is well aware of Wick’s killing prowess. Willem Dafoe appears in the film as a sniper who may or may not be on Wick’s side, depending on the situation. As soon as the premise is established in Derek Kolstad’s script, it’s on to scene after scene of Wick destroying entire rooms full of people who are foolish enough to stand in his way. From a narrative standpoint, this isn’t exactly a difficult genre to understand.
However, directors Chad Stahelski and David Leitch–who work together as a filmmaking team, despite the fact that Leitch is technically the producer–are both experienced stuntmen who clearly know what they’re doing when it comes to this type of balletic action. His big break came 20 years ago when he was called in to replace Brandon Lee, who was killed on the set of “The Crow.” From there, he went on to work as Reeves’ stunt double in the “Matrix” trilogy and other films. He has appeared in films such as “Fight Club,” “Mr. and Mrs. Smith,” and “The Bourne Ultimatum,” as well as doubling for actors such as Brad Pitt and Matt Damon.
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With all of their years of experience and exposure, they have a level of confidence in their film that you don’t normally see in first-time directors. Fortunately, they have the foresight to allow the intricate choreography to speak for itself. As a result, they allow the fight scenes to play out naturally, rather than relying on nauseating shaky-cam or Cuisinart edits, which, unfortunately, have become the aesthetic standard in recent years.
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But, beyond the breathtaking brutality they put on display, they also have an eye for artistic expression, with cinematographer Jonathan Sela contributing to the creation of an ominous sense of underworld suspense. Wick’s early scenes are so crisply desaturated that they appear in black and white, from the cloudy, rainy skies over his wife’s funeral to his head-to-toe wardrobe to his sleek, slate-gray Mustang. Wick’s early scenes are so crisply desaturated that they appear in black and white. Aside from the deep green of the secret, members-only cocktail bar, or the rich red of the shirt worn by a Russian bad guy under an impeccably tailored suit, other scenes stand out for their vividness as Wick begins to immerse himself once more in the criminal world from which he had escaped, the film’s other scenes stand out for their vibrancy as well.
In spite of the fact that the body count grows numbing and repetitive, “John Wick” is actually more compelling when set in the aesthetically heightened, meticulously detailed world that it depicts. While the setting is the present-day New York City, Wick and his fellow assassins, as well as other nefarious characters, occupy a parallel version of the city with its own set of rules that are almost comically bizarre. They have their own currency, which is gold coins in the shape of pirate doubloons. These coins can be used to purchase goods and services, or simply to express gratitude for a favor. And they hang out at an upscale downtown hotel and bar called The Continental (whose unflappably polite manager is played by Lance Reddick from “The Wire”), which serves as a sort of safe haven where protocol dictates that peace prevails and where killing is grounds for dismissal from the job. The courtliness of it all serves as an amusing and welcome diversion from the non-stop carnage on the battlefield.
It appears that you can check out whenever you want, but you will never be able to leave.
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