John Wick: Chapter 4

GoMovieReviews Rating: ★★★★☆ (4.3/5) John Wick: Chapter 4

Rated: MA15+

Directed by: Chad Stahelski

Written by: Shay Hatten and Michael Finch

Based on Characters Created by: Derek Kolstad

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.

What a journey.

 

IT

MA 15+IT

Directed by: Andrés Muschietti

Produced by: Dan Lin, Roy Lee, Seth Grahame-Smith, David Katsenberg and Barbara Muschietti.

Screenplay: Chase Palmer, Cary Fukunaga and Gary Dauberman

Based on the novel by: Stephen King

Starring: Bill Skarsgård, Jaeden Lieberher, Jeremy Ray Taylor, Sophia Lillis, Finn Wolfhard, Wyatt Oleff, Chosen Jacobs, Jack Dylan Grazer and Nicholas Hamilton.

Something sinister is going on in the small town of Derry.

Kids are going missing.  Too many kids.

The story begins with Bill Denbrough’s (Jackson Robert Scott) little brother disappearing – first Georgie, then lots of kids.  Sometimes a chewed-off arm is found, most of the time they’re just gone.

IT follows a gang of outsiders self-named, The Losers’ Club, losers because what they have in common is they’re all bullied by, The Bowers Gang.

We all know how cruel kids can be, but Henry Bower and his cronies are the type who start off torturing animals to graduate to full-blown psychopaths.IT

Bill is haunted by his missing little brother, so the summer after Georgie goes missing, The Losers’ Club band together to try to find out why all the kids of Derry are disappearing.

The quest becomes a waking nightmare as the gang follow an ancient horror down the sewers to find a monster literally feeding off the fear of children: Pennywise, the Dancing Clown (Bill Skarsgård).

IT (2017) is the second film translating Stephen King’s novel of the same name from page to screen.

I was terrified when I watched the original, IT (1990), back in the early nineties.  But after a re-watch, I took the horror-thriller off my recommended list as the film didn’t date well; the idea still there but the effects contrived and no longer believable.IT

The film here, directed by Andrés Muschietti (Mama (2013)) is a faithful adaptation, once again, holding onto the ideals from the novel – the perspective from that awkward in-between age of childhood to coming to grips with adolescence and all that goes with it: puberty, love, outgrowing parents, and trying to figure out right from wrong while dealing with the cruelty that is other people when you’re an outsider.

There’s a warm honesty to King’s writing, particularly when from the perspective of kids, hence the horror of being right there with them when battling the monsters.  And the casting translated that authenticity well (hats off to, Rich Delia, the casting director).

My favourite parts of the film were the coming together of The Losers’ club: motor-mouth Richie Tozier (Finn Wolfhand), the hypochondriac, Eddie Kospbrak (Jack Dylan), Beverly Marsh (Sophia Lillis), the girl of the group and the bravest of the them all, the loner book-worm Ben Hanscom (Jeremy Ray Taylor), the African American home-schooled out-of-towner, Mike Hanlon (Chosen Jacobs) and OCD Stanley Uris (Wyatt Oleff) – all courageous in their own way.  And the humour and chemistry of the gang was a genuine pleasure to watch.

The foundation of the story was watching the kids fight the terror of their own nightmares embodied in the clown that is Pennywise.  And here the story was successful.

The horrors that come, and there are many, are unique and surprisingly different to the first adaptation.

This is not a replica.IT

Unlike the novel (and original film), where the beginning of the story is set in the 1950s, IT (2017) begins in the 80s, giving that, Stranger Things (2016) vibe with the 80s outfits and soundtrack revolving around the comradery of outsiders coming together as a gang to battle something other-worldly.

But l wasn’t as absorbed and therefore as scared during the confrontations with Pennywise, as it felt like a succession of scary bits rather than a slow build of fear.

Pennywise became more present as the film progressed, with some clever inclusions into the day-to-day, but it’s just so difficult to translate that subtle Stephen King-esq creeping feeling…

What I found more scary was the psychopathic people – the bullies and the adults in the film who were just, wrong.

I felt the scary Pennywise bits could have been paced differently, perhaps less being more.

But overall, a quality horror-thriller with good bones – looking forward to what’s next, from The Well…

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