He’s a wrecking ball, and they’re there to be wrecked. The scripts’ video game-like structure - right down to a “level” in John Wick: Chapter 2 that could be called “The Catacombs” - further enhances this dehumanization of Wick’s opponents.
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Every Wick movie is structured to suggest that only a couple of people on the face of the planet can stand with John Wick, that even if you send an endless army after him, he will gun down every member of that army. In that moment, it really does feel like they’re doing an elaborate dance.īut these thrilling moments are fewer and farther between than you might expect.
(He has more trouble dispatching Cassian than entire rooms full of goons.) In one thrilling shot, Stahelski sends Wick and Cassian careening down opposite sides of a row of parked cars, ducking and weaving to fire at each other. In John Wick: Chapter 2, the most worthy opponent is Cassian, played by Common, as the biggest threat Wick has yet faced. That, of course, makes it all the more thrilling when a worthy opponent for Wick comes along, and Stahelski lets both hold the center of the screen while their fight goes on. Wick holds centerstage, blowing away all who would dare oppose him. But for the most part, they’re solo numbers - or, at best, a duet between actor Keanu Reeves and director Chad Stahelski’s camera. To be sure, the action sequences and gunfights in both Wick movies have moments of sheer, choreographed wonder. (For a good example of how the word “balletic” can apply to action, watch literally any fight scene featuring Jackie Chan in his prime.) The standard adjective to apply to Wick is “balletic.” By this, critics usually mean that the action sequences in a film are so beautifully and tightly choreographed that they approximate the feeling of watching a dance number or an elaborate slapstick comedy routine. Abandon your moral compass, all ye who enter here John Wick has a new dog, at least. In this way, the John Wick movies capture, better than any other action movies, the peculiar feeling of being an American in the 21st century: blessed with immense power but always kinda bummed out about it. But they’re mostly about how good it would feel to be a one-man army, to be able to kill anybody you see with minimal struggle, even if all you had on hand was a pencil. Sure, the John Wick movies nod toward, say, how hard it is to break cycles of revenge and other standard action movie tropes.
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