Spectacle…But No Substance?

As much as one cinema-goer can list off a serial number of action films that have defined what the said genre has become and how it’s evolved certain stories and films over-time to this present day, one of the more interesting outlooks to gaze at in regards to this interchanging features are the ‘Heroic Bloodshed’ films of 1980’s Hong Kong cinema. Whereas Hollywood cinema, in the past twenty years, have relied upon set-pieces featuring big explosions, car chases and CGI special effects, the Hong Kong strain of 1980’s action films, most notably seen within John Woo’s film of The Killer and Ringo Lam’s City on Fire, revolve around not only stylised sequences involving gun-play (‘gun fu’) and physical acrobatics, but also the implementation of dramatic themes such as honour, redemption and violence that are all seen within the frame of the lens. These features that have applied lots of blood and action to their protagonists emotional and doomed expeditions, hence the term of ‘Heroic Bloodshed’, have indeed inspired other ambitious film-makers to introduce these constructs of this cinematic movement into their own methods; as seen within the many films of Quentin Tarantino and Luc Besson, who particularly used the emotional aspect and applied it to his film of Léon: The Professional. The same can be said of Chad Stahelski’s follow-up of his first directorial outing in John Wick: Chapter 2, which primarily focuses on a character, known for his killer-antics, that is still seeking peace through bloody-redemption and like the previous film, manifests both of the upsides of action films that have derived from the East and West. As with every sequel however, does Stahelski improve on both the contextualisation and formal tactics? Or are we left with a feature that lacks overall depth in contrast to the first film?…

After finishing off some business that needed taken care of from the proceedings of the first film, John Wick is once again pulled back into the gun-slinging line of work that he so desperately wants to discard from his life, so he can make peace and move on. With debts to ultimately pay for past actions that he’s committed, the ‘boogeyman’ that is Mr. Wick finds himself in another difficult situation; a circumstance that not only see’s him executing his killing expertise, but also places him in a puzzling road of disloyalty and ferocity…

As tempting as it is to digress and tell you more of the story intricacies of Chad Stahelski’s 2nd feature film of John Wick: Chapter 2, it would be rightly irresponsible of someone in my position to spoil more than what you and many audiences can witness with your own eyes; especially since there will be many people going into this film who haven’t had the time to sit down and watch the first film of this now commended action franchise. Having said this however, one positive to mention before we delve into the primary discussing point in terms of what Stahelski intriguingly integrates and the formula that he transfers from the first filmic-outing into Chapter 2, is how the film starts with an opening sequence that starts just as how the first film ended; with a barrage of cleverly done choreographed sequences that gives new audiences a taster of what is to come. We not only witness Keanu Reeves’ character of John Wick finish off some unfinished business that prospered towards the end of the previous tale, we’re also presented with a quick and niche set-up of said character; with Stahelski intuitively building up the mysticism of the ‘Boogeyman’ through structured cut-backs of the action that’s taking place and a mob-leader describing to us who John Wick exactly is. While this formal tactic is arguably implemented to specifically inform uninitiated gazers, it also serves as a nice reminder to the already knowing audience of Wick’s character and motives; which, somewhat, re-invokes this feeling of sympathy towards the protagonist. Aside the opening sequence which overall ensnares the watcher towards the world of John Wick, one of the standout fabrications that Chapter 2 earnestly strives to present is a worthwhile sequel that not only proceeds in utilising the best contextual constructs that formed the first feature to be one of the better modern action films to have been released, but it also manipulates the established world that we see and broadens the scope of this savage and crafty milieu that John Wick is fatefully pulled into. As much as the previous film primarily focused on the main characters personal vendetta, one of the things that underlined the central story-arc were the arbitrary elements, such as the Continental hotel and the distinct golden coins that are seen to trade with certain items, that culminated towards a rich yet grimy setting that evokes this subtle sense that you’re viewing a comic-book strip being brought to life. With the first film combining these eccentric details with the bloody redemption story-line, Stahelski’s first feature upholded a concept that was always ready to blossom and expand its own universe. In the case of Chapter 2, this is indeed what we receive; a film, which has now turned into a valued action series, that purposefully develops its own world and law by delicately going into more depth of the corrupt politics of the underground society of hit-men and assassins. With more added story-elements presented, in the forms “blood oath” medallions and more expression on the rules of The Continental that all killers must stay abided by, it’s obvious that the film-makers and writers took note of what demands lovers of the first film wanted and correctly, as a good sequel should do, broaden the scope of our viewing imagination. The results of this happening, especially with the world that is presented within John Wick, is fascinating and interesting to engage with. The only real slight criticism with this sequel delving into more of its own bloody lore, is how it strays away from being as authentic and believable as it wants to be. In approaching the 3rd act of the narrative, it has to be said that there will be sequences that play out to be a little too satirical; which in turn scraps away any sense of verisimilitude and paves the way for sardonic instances that one might expect to see in an average Hollywood action flick. However, from borrowing what was mentioned in the introduction, what keeps John Wick: Chapter 2 entertaining as the first filmic venture, is its consistency of keeping the same contextual motifs that were ever present in the Hong Kong ‘ Heroic Bloodshed’ action films of the 1980’s. While we’ll discuss the main protagonists story-deficiencies a little bit later, it’s pleasing to see that Stahelski pursue’s in using the same contextual motifs from the last film; by applying a strong emotional angle to a good-willed hit-man in John Wick by focusing on aspects of disloyalty, redemption and, of course, violence… Which leads me to the next discussing point.  

One of the main formal tactics that Stahelski executed to his and Keanu Reeves tastes (Stahelski previously worked with Reeves on the set of The Matrix) is the stylish escapism that Chapter 2 relishes in, as shown in the beautiful yet violently poetic action choreographed sequences. Unlike most outlandish Western action-features that simply rely on over-blown grandeur extracts that are mainly constructed through the use of CG, every-single action sequence that is highly performed by the stunt-men/actors in using various methods of Kung fu and Gun fu, is executed within the frame of the lens; bringing forth scenes that provide intense fluidity through the flowing camera-work. Indeed, with Chapter 2 embodying the cinematic styles that originated primarily within ‘Heroic Bloodshed’ films, as highlighted before, we’re ironically presented with a ballet-esque blitz; with Reeves and other stunt-men alike performing roles, dives, slides and falls duel in-between. Of course, there are a few scenes far and few-between where Western film-making sensibilities are necessarily applied to authenticate the film’s violent realism. However, with it mainly assembling a mixture of continuous takes and perfectly executed  and stylised action sequences, John Wick: Chapter 2 is beautiful to look at and, again, isn’t really something that you would expect to see from big action franchises such as The Fast and Furious. One other slight factor that’s apparent to notice in comparison to the first films visual aesthetic, is how we’re presented with a much more vibrant colour pallet that correlates with the already mentioned detailed set-pieces. It’s a clear juxtaposition from the dreary green grain of the aforementioned feature which aspired to emphasise the grim and revengeful mood of John Wick and actions that he mercurially hounds.

Aside the visually stimulating choreographed action set-pieces that action-lovers will crave for, John Wick: Chapter 2 wouldn’t be much of a film if it didn’t uphold any sense of direction when it comes to the characterisation and performances of the vast array of individuals. In similar vain to what was mentioned in my foregoing review of the first John Wick, you know what you’re going to get with Keanu Reeves’ performance as the central character; a bold performance that automatically draws you into his perspective of the proceedings. In essence to his previous rigorous action outings in The Matrix and Point Break, Reeves’ portrayal of the broken yet mercurial ‘Boogeyman’ and the committed stunt-work that he professionally and consistently executes within every action sequence, is something to be riveted by; especially if you’re someone who aspires to become a performer or something of that inkling. It’s not everyday that you witness an actor, in any film genre, perform both of the stunt-work and the lines of dialogue together in a believable manner. The only concerning matter in relation to the development of the John Wick character is the lacking emotionalism that properly fails us to get us as engaged as the first time did. Without spoiling much of the events that took place within proceeding picture, one of the more intriguing contextual devises that made the 2014 feature so appealing to view was the sympathetic edge that surrounded the central character. In seeing the tragedies that were bestowed upon him early in the first film, Wick’s motivations of pursuing the revengeful path, that he somehow found peace with at some point, was clear and streamlined that we, as the audience members, understood why he was rigorously hounding down the people that crucially made the wrong decisions against him. It is indeed synonymous with the style that director John Woo would entail; where there would be a strong emotional angle through the main characters personal vendetta. In the events that unfold in Chapter 2, much of what was mentioned is lacklustre and what we have instead is a central character that relies on a motivation that is forced; there’s no ‘room’ for John Wick to go down other than the route that is served to him. What make characters so intersting in any film, are the choices they make for better or worse. With this mind, there’s not another path that Wick can potentially go down. There isn’t another option that he can go with which is disappointing. The emotional reason for him to continue to vanquish those who stand against his will, is uninspiring compared to the sympathetic incentives that were engage to grasp the first time around. The only real silver-lining to this awkward development would be the added inclusion of Laurence Fishburne, who plays as an underground crime-lord, which does bring about this whimsical familiarity whenever we see said actor and Reeves’ on the silver-screen.  

In accomplishing to create a re-watchable sequel that does the right things in sticking with the many styles and motifs of ‘Heroic Bloodshed’ films and offering new and intriguing contextual insights, Chad Stahelski’s John Wick: Chapter 2 is an affirmative love-letter to a respected age of action film-making that grows on its beloved world and corrupt politics. With it taking great joy in expanding the lore of the underground society of assassins, this now lauded action series improves from its predecessor in terms of the many beautifully fluent action set-pieces and perfectionist choreography that we are presented with. Notwithstanding the fact that the characterisation and the authenticity of this expanded grimy fantasy hinders Chapter 2 from being as good as a few other notable action flicks, with it having a hallmarked Hong Kong action inspired ending, one can only hope that the next instalment will equally thrill our escapist mind-sets…

And on that note, it’s time for me to end this week’s review. As always everyone, thank you for reading my latest film review of Keanu Reeves’ 2nd outing as John Wick… in John Wick: Chapter 2 and I hope you’ve all enjoyed the read!! 😉. If anyone has an opinion on either my review or on the film itself, please feel free to drop a comment down below. Next week, I will either bring you another new film review of Hugh Jackman’s last outing as Wolverine in Logan, or I will bring you a retro review of Mamoru Oshii’s 1995 Japanese animation spectacular, Ghost in the Shell, will be a preparation piece for the live-action film, of the same name, that comes out later this month. Once again, thank you to everyone for reading this week’s Blog Post and I’ll see you all next week!! Have a nice weekend!! Adieu!! 😁😎✌

★ ★ ★ ★ ☆ – Alex Rabbitte