Criticism, ‘John Wick 4’, the culmination of the action of the saga, does justice with its unbeatable climax
An undeniable climax, of those that cause the revaluation of the entire film, is the most characteristic of ‘John Wick 4’, whose last action sequence is crowned with a metaphorical charge, emotional background and visual appeal. But the journey to that point is not without its ups and downs when it comes to pacing, and it suffers with a constructed storyline citing the High Table but maintaining its impunity, which is somewhat disappointing. These controversial elements within the narrative construction of the film are compensated, yes, with more than stimulating melees and focused action from the feeling of the pinnacle of the franchise.
The work of Donnie Yen and Hiroyuki Sanada is tremendously remarkable, additions whose mastery shines above all else. It is an absolute pleasure to see them execute a choreography from which they cannot get more juice. Your teamwork is excellent. but the most striking thing is how they maintain their own style even immersed in the eye of the fightbeing its characters a luxury addition.
Sanada plays Shimazu, the owner of the Osaka Continental, one of the best planned scenarios and which also features Rina Sawayama in the role of Akira, Shimazu’s daughter and hotel concierge. Sanada has the experience of him as a tool, a career focused since the mid-60s on properly capturing martial arts on film, which contrasts with the know-how of Sawayama, a singer whose first role with chicha is this one that embodies ‘John Wick 4’. It’s fascinating to what extent Sawayama hits the nail on the head considering his lack of screen experience, anyone would say that the scenarios are the best acting school.
As for Yen, this actor moves to another level partly because of the details of his Caine, but also because of that effort that he claims to have put into propping up said character from a flight from stereotypes. When he said yes to the role, he asked that nothing call his murderer “Shang or Chang” and that the costumes should be in line with the saga, not what is typically expected in Asian profiles. With that westernization and an unbeatable performance from the point of view of Caine’s blindness, Yen is unquestionably crowned. In addition, precisely because of the aforementioned visual disability, his action sequences are exceptionally spectacular, with a solid representation of that way of fighting subject to a lack of vision, and an intelligent use of gadgets, in their proper measure.
Closing out the successful new signings, Bill Skarsgård and Shamier Anderson represent a pair of players whose style within the countdown that has Wick fighting for his life, has nothing to do with a one-on-one fight. Tracker, a ground assassin played by Anderson, boasts a special ability to hunt down his targets and it has an iconic ace up its sleeve: its dog. This resource, which could have been perceived as easy, is carefully built resulting in an interesting contribution to the chase, a beautiful nod to the saga and for the fans, and an essential connection between Tracker and Wick. The dynamic between Anderson’s mercenary and his loyal companion works so well given the requirements of a film of this style, that this character asks for more screen time (as is also the case, albeit for other reasons, with Sawayama’s Akira).
For his part, Skarsgård does the job he has to do, taking advantage of his sinister point and compensating for that somewhat bland approach to the rebellion against the High Table. His villain is presented in the best way, and from that introduction the Marquis of Skarsgård drinks to the end.portraying himself as an antagonist as deadly as arrogant who tries to make up for something that cannot be bought with money and muscle for hire: the mental acuity of his true rival in this fourth installment. And it is that while Wick spends the entire film with a target on his back, who Marquis really fights with is Winston, a veteran of the saga before whom justice is done.
Lance Reddick in the skin of Charon and much more Ian McShane as Winston, face an immeasurable loss at the start of the film, a key element in the motivations of McShane’s character who ends up seeking revenge for much more serious wrongs. Thus, with the King of the Bowery (Laurence Fishburne) very angry about his own, and Winston exceeding the limit of his patience, one would expect a strong blow on top of that High Table that is truly not affected by the conflict. This is precisely the least solid part of the argument, which does not finish shaking the greatest exponents of this world of murderers thinking about, the spin-offs? The continuation of the saga?
Everything more and better?
The action, a fundamental element of ‘John Wick’ that has made its contribution to the genre iconic thanks to the originality, brutality and consistency of its sequences throughout the entire franchise, is outlined thinking of that more and better associated with the continuations. Building on his almost 10 years of presence on the big screen, several spectacular pieces are the backbone of ‘John Wick 4’.
While some work practically like clockwork, others abuse that suspension of credibility that does not quite work when it is extended to the Wick environmentbut all suffer to a greater or lesser extent as a consequence of an irregular rhythm, victim of that generosity with the durations that has become so fashionable. Chad Stahelski takes 2h 49min to plot and visually develop a story that, according to him, needs that time, but at the moment of truth it asks for cuts.
It calls for scissors especially in the great sequences that, together with their spectacularity, come with creative decisions that are difficult to embrace. The representation of everything that surrounds Wick and his pursuers both in the main piece set in Berlin and in the fast and furious set in Paris, calls for an uncomfortable leap of faith, something new in the saga.
You feel the pressure assumed by Stahelski when it comes to being original visually and choreographically speaking, which denotes a moderate success in both fields, as much as the production design is still wonderful. There are camera shots that were just as spectacular in his head and shots that David Leitch, who was a producer and specialist in the saga, has focused much better on his misadventures away from Wick, like ‘Atomic’. What, conceptually speaking, might not be a bad idea, does not quite flow into practice in some cases, like a striking overhead that takes a lot out of the film. Regarding the script, the worst thing is the approach to the conflict with the High Table, but in general Derek Kolstad is missing, a screenwriter who this time has been left out.
Keanu and a perfect climax
Definitely, with its successes ahead and its failures in the rear-view mirror, ‘John Wick 4’ is above again thanks to Keanu Reeves and very distinctively hand in hand with its climaxresolution of the arc with which the viewer is inexorably conquered because it is not only a icing on the cake for this film, but also for the entire saga.
Reeves takes the blows again as only John Wick knows how, giving it his all when there is no other way and carrying the weight of pain and years in the very brief moments of rest. The figure of him as a man of few words is maintained, which accentuates the considerable increase in chatter in other characters on whom the weight of that plot falls with the High Table that happens to recapture Wick’s past with Ruska Roma. The mythology that interests Stahelski so much is relegated to the background before the much stronger hook of other elements of the film. that, logically, she feels more comfortable embracing that language, both physical and violent.
It is true that while the norms and developments of the High Table weaken, the connections between the charactersanchored in the emotional plane pulling elements such as respect or admiration, are posed with much more gusto which helps the last big action sequence and the tense climax. Structured around the rise of Rue Foyatier, widely traveled to connect Saint-Pierre with the Sacré-Coeur, said scene is an absolute treat for fans that enjoy at the same time an intelligent use of the natural setting that the city of love represents for this film, and the mixture of motivations and intentions that have been raised throughout history and are tied in the face of farewell.
It is better not to mention anything about the outcome. With saying that the creative choice that sustains it is round, fair, emotional and key: it is enough. Once again, there is a certain compositional detail that could be a little more careful, but it is an anecdotal matter that is forgotten under the moving weight of the moment, a visually precious moment that reiterates the exceptional framework that Paris represents. at the same time that he remembers how magical movie endings can be. A closure to live in theaters, without a doubt.
The best: The outcome, without a doubt.
Worst: That the excess length comes to weigh and break the rhythm in some very remarkable action sequences.