The John Wick franchise is something none of us saw coming but what a gift it has been. What easily could’ve been dismissed as a one-off action film that came and went back in 2014, has set a new standard for no-holds-barred R-rated action. It would be easy to dismiss these films as “check your brain at the door entertainment,” and on some level they are, but there is an artistry to the action and fight sequences that work on the same level as an Oscar-caliber level screenplay. In horror films, a scene of extreme gore and violence can be viewed as high art if it’s used right and it’s the same with action films. If the action isn’t by the numbers and brings something new to the table, it achieves a higher level of execution. John Wick: Chapter 3 – Parabellum, the third entry in a franchise we didn’t know we needed, is that higher level and it’s one hell of a good time.
Director Chad Stahelski (who has helmed all three John Wick movies, including an uncredited assist from David Leitch on the first one) and screenwriter Derek Kolstad (joined this time around by Shay Hatten and Chris Collins & Marc Abrams) return us to the world of the first two films: a stylized neon nightscape full of seedy backstreets and upscale hotels. This interpretation of nighttime New York is just the playground for a series of high-octane, no-holds-barred chase and action scenes in which people bring knives to gun fights, guns to knife fights, and shatter more glass than a world-class soprano hitting a high note. It’s a highly dynamic landscape that is always enticing to watch.
John Wick 3 gets off to a rousing start, picking up exactly where its predecessor left off. Tick-tock, John Wick (Keanu Reeves), your hour is almost up – that’s how much time his friend and associate Winston (Ian McShane) gave him in Chapter 2 before his status as Excommunicado becomes official and a $14 million bounty goes into effect.
There isn’t a lot of plot in John Wick 3, but that’s ok. We get just enough to move the film along while the rest of the film is framed around elaborate action, chase and fight sequences. The first 30 minutes is particularly rousing as the film doesn’t let up to take a breath while many pursue Wick in hopes of getting the bounty of $14 million. It’s during this time that Wick shows how books can be used for more than reading and get involved in one of those bloody, comedic fights whose meticulous choreography reminds us that Stahelski made his name as a stunt coordinator. I found myself laughing during a lot of it but not because it looked ridiculous but more of a laugh of amazement that it’s all so over the top that it works.
There are more fight scenes to come, including a long one featuring Halle Berry as Sophia, a former client who helps John begrudgingly on the part of his mission. The marketing materials suggest that Berry is the central fixture here, but her screentime is limited. She makes the most of her time on screen and leaves you wanting more. Her character commands the screen and her action sequence with Wick, and two very loyal canine companions are the best sequence of the film. This scene shows that the director is trying to construct action and fight sequences. The best thing about it and many of the action sequences is that there aren’t a lot of quick cuts and shots to people who are stuntmen and women for the leads. That’s Halle Berry firing off her gun like an ace, and that’s Keanu Reeves engaged in smart knife play. There is a sense of reality in all of these scenes, and that is what makes them genuinely crowd-pleasing.
Keanu Reeves’ John Wick looks and acts much the same as in the previous two films. His suit is black and white and red all over. His implacable expression never waivers, and he’s often ready with a one-liner. The Matrix trilogy made Reeves a bonafide action star, and while we may not have expected this from him despite early roles in Point Break and Speed, it’s a mantle that he wears with complete and utter confidence. Say what you will about his skills as a thespian but Reeves, much like the Wick films, knows what he’s here for and he delivers on all fronts. Returning actors Ian McShane, Lance Reddick (as Winston’s second-in-command), and Laurence Fishburne (as the Bowery King) are all in fine form and bring some pedigree to the film. Newcomers Asia Kate Dillon (as The Adjudicator) and Mark Dacascos (as Zero, Parabellum’s main bad guy) deepen the series’ mythology.
The film only slips up a bit when the movie slows down for exposition that isn’t all that necessary. There is a desert excursion that is built up to mean something but ultimately feels pointless considering how things wrap up in the end. At 130 minutes, this is the most extended entry of the franchise, and it’s only during this sequence that you feel yourself squirming in your seat. Perhaps Stahelski thought we needed a breather from the action, but the break hurts the momentum just a tad.
John Wick 3 is on par with its predecessors for bloody fun and a gory good time. I have respect for films that know what they are and wear that badge proudly. To its credit, the film is well-made enough not to be limited by the confines of just being a fun action film. There is so much art in its execution of that action that it gives you a new respect for the genre and makes you wonder how it can top itself. Chapter 4 was announced this week for May 21, 2021, and considering how this franchise has only gotten better with each entry, I’m all in on seeing where this goes next.
