John Wick

"I hear you struck my son. May I ask why?"
"He stole John Wick's car, and killed his fuckin' dog."
"Oh..."

There's been a decided trend in action films in the last few years, and that is the prevalence of middle-aged and older dramatic actors turning to action and action-thrillers, and even action stars returning to their former glory. Liam Neeson is perhaps the most iconic, based on the success of his recent Taken franchise and his most recent turn in A Walk Among the Tombstones, but also Tom Cruise in Jack Reacher, Terrence Stamp in The Limey, Michael Caine in the Harry Brown remake, the resurgence of Jean Claude Van Damme film since JCVD, Bruce Willis' entire career this millenium, and of course the cartoonish nostalgia-trip that is The Expendables franchise, among many others. The financial potential of this trend is undeniable based on the star-power legacy of its famous faces, but several of these have solid support from younger writers and directors who have grown up on their films. Additionally, another recent trend that has impacted John Wick is the return to stylish and simple action directors, who shoot their scenes with a mind for the viewing of action, rather than the feeling of action. What this means is that John Wick is a solid, enjoyable action vehicle, with sequel potential if its financially successful (which it may well be with such early acclaim), with action that is not shot in ultra-fast cuts and in close-up.

At the seasoned age of 50, Keanu Reeves is no stranger to action films and shows no sign of stopping, and like the aforementioned Jack Reacher and A Walk Among the Tombstones, John Wick is a premise and character that is both new and old, human but tough, and even then the villains are more of the same. John Wick's nameless wife (played by Michelle Moynaghan) dies of an illness, and he is left alone in their quiet, modern home, until a Beagle named Daisy is delivered by his wife after she passes away. While out driving in his Mustang, Wick captures the eye of young gangster Josef Tarasov (Alfie Allen) who, along with a pair of fellow gangsters, breaks into Wick's home, assaults him and kills Daisy. John then begins to descend back into his past self, an assassin so feared and respected in the organised criminal underbelly of New York that the threat of his wrath concerns kingpin-figure Viggo Tarasov (Michael Nyqvist), Josef's father and Wick's former employer. And so begins the carnage, with John Leguizamo, Willem Dafoe, Ian MacShane and Adrianne Palicki appearing has figures who either give Wick a helping hand, a wide berth or a tough time.

Much of this film seems to be shot to meet conceptual art designs, early on and in certain set-pieces and locations there is such a flair for colour and style that feels so beautifully deliberate and neat. And in that regard, the establishment of this underground world and its prominent figures, Leguizamo as a car customiser/chop-shop owner named Aurellio, Dafoe as a prominent hitman named Marcus and MacShane as the charismatic manager at the Continental, a hotel and rule-based neutral zone for contract killers, is what brings this world alive. They add flavour and depth without being too meddling, whilst also boosting up the star power in trailers and promotional material in spite of this film being mostly about Viggo Tarasov throwing all of his might against Wick.

The action thankfully is shot in wides and mediums, and in long enough takes at times for Reeves and company to really work, and it helps, with each fight being a legitimate highlight of the film. Each fight has at least one stand-out shot or stunt, everything feels fluid, and Wick is not an invincible hero, often taking enough damage to maintain the danger. That being said the main problem with this film is the villains, while henchmen and other members of the criminal underworld are varied in their approach and effect, the Tarasov's themselves are cowardly, conceited and inept. Allen is essentially playing his Game of Thrones character of Theon Greyjoy, but with the ability to speak some decent Russian, and Nyqvist's character's motivation seems to violently shift from scene to scene. In contrast, figures like Palicki's Ms. Perkins, another assassin who knows Wick, and Lance Reddick's concierge are underused.

John Wick is a suitable role for Reeves, as he is early grim and lonely, with minute bits of hope and happiness seeping through, he quickly becomes cool and dangerous, and all of these suit Reeves', though a late emotional outburst from Wick is welcome and excellent. In both John Wick and 47 Ronin, directors seem to have learned what makes Reeves work in action roles, he's not a wild charismatic figure, more tragic and quiet, and Wick seems a perfect fit. The pace of the film is measured and brilliant, purpetually gaining but never becoming flat-out. The drama is just too little to actually engage with, but there is enough deadpan humour to be found. The sound design has little to impress aside from a descent soundtrack that alternates between score and playlist, with Marilyn Manson's Killing Strangers featuring as an almost theme song.

Also, wow, everyone wears head-to-toe black in this film.