JOHN WICK: CHAPTER 3 - PARABELLUM

Keanu Reeves     Halle Berry     Ian McShane     Laurence Fishburne

Mark Dacascos     Asia Kate Dillon     Lane Reddick     Anjelica Huston

     ‘Parabellum’ apparently means “call to war”, which is the theme of John Wick:  Chapter 3.  Repeatedly, we see groups aligning up against one or more persons, and agents being sent out to “be of service” (“I have served…years; I will be of service.” is the ritualistic response to a challenge)—which usually means taking someone out.  But the central character to go to war with is John Wick (Keanu Reeves, in his third appearance as Wick).

     By the third John Wick film, most of the drama and character development have been expended in the first two, and in this third we get what looks like a stunt man’s dream:  endless scenes of choreographed fights that used to be fascinating, but by now have become repetitive and tedious.  As with many action films, the fight scenes go on for 30 minutes or more.  This is understandable in view of the director Chad Stehelski’s background as a stuntman, but when that is essentially all that’s in a movie, it can’t hold the interest of those of us wanting a story.

     John Wick 3 is marked by extremely violent fight scenes that sometimes are accentuated by humorous images, which did indeed bring laughs from the viewers.  As in cartoons like “Bugs Bunny”, stunts are punctuated with humor, usually from one character clobbering another in rapid sequences with bodies flying into each other or into things like glass cases and careening every which way.  Many are cleverly done and get chuckles and guffaws from the audience.  There are swords that go completely through a man, with the point appearing on his backside and swords or guns being shoved into a man’s head then pounded to drive it in further.  One has to see it as a cartoon; otherwise, it’s just sick.

     In this version of John Wick (Reeves) has a bounty on his head to the tune of $14 million for killing someone in the Continental Hotel where the rule is that no blood can be shed there.       This rule comes down from the “High Table”, a mysterious group with inviolable rules overseeing underground criminal operations in the city. Wick tries various strategies (and wins out in a formidable number of hostile encounters) to redeem himself, eventually ending up in Morocco where the highest of highs gives him instructions for expiation, but only after he does extreme penance.  Then even more battles occur on a set reminiscent of Wick 2, which had mirrors.  This one has see-through glass everywhere in many configurations and on multiple levels.  (It’s a stunning set design.)

     Moreso than in the previous Wick films, this one involves shifting loyalties and very little drama in terms of personal interactions or character development.  For instance, Wick’s relationship with Sofia (Berry) is not explained, other than that they had a history that left her so resentful she leaves him on the desert sands, making a big show of depriving him of water in a gruesome way.  

     Keanu Reeves owns the character of John Wick admirably, as he has done for the previous renditions, but the constant “mano-a-mano” encounters show him to be as weary as we are of the endless struggles.  A fresh new exotic face is Asia Kate Dillon, as the Continental’s chief, who conveys a mixture of threat and decisiveness.  She is good, but I would have liked to see more mercilessness, a fault that I attribute to the writers or director rather than to the actress.  Ian McShane and Laurence Fishburne are marvelous in their continuing roles as underground criminal elements.  Halle Barry did well with what she had; her storyline did not add much, and her character needed to be much more developed to make it interesting.

John Wick is on the run (i.e., in a string of stunts and cartoon-like maneuvers) with a $14 mil bounty on his head after breaking an almost inviolable rule in a consecrated place.

Grade:  C+                                    By Donna R. Copeland

BILAL: A NEW BREED OF HERO

Adewale Akinnuoye-Agbaje     Jacob Latimore     Ian McShane     Cynthia Kaye McWilliams     China Anne McClain    

Mick Wingert     Sage Ryan     Dave B. Mitchell

     Bilal is promoted as “a new breed of hero”, but this seems to be little different from a host of other such stories, in that Bilal undergoes tragedies from the time he is a child, endures them reasonably well, maintains his rebellious determination for freedom, recognizes words of wisdom and generosity in a strong Mohammed-like figure who buys him from his evil master, and manages with his comrades—particularly his guide Hamza (Mitchell)—to achieve civic and religious goals. The animated story from the UAE is based on ancient Muslim lore during the time that wealthy merchants relegated most of the poor masses to slavery.  Viewers with young children should be aware that the film includes a bloody war.

     The thrust of the story lies in its emphasis on freedom, freedom that everyone deserves regardless of appearance or ethnic origin.  This comes through, albeit sometimes a bit preachy.  The story maintains the belief that there is a god who oversees the lives of men and expects them to adhere to his teachings about kindness and social justice, as contrasted with anger and vengeance toward others.  The film is marketed for middle age children and above, but I wonder how many will get their message.  In the screening, there were cheers when the bad guy was undone—evidence to me that they missed the import of the film:  Use a stick rather than a sword whenever possible.

     The film is from Saudi Arabia, animated by Barajoun Entertainment, and filmed in Dubai.  Influences of a Middle Eastern perspective are clearly apparent, and I understand that the directors (Khurram H. Alari and Ayman Jamal), and particularly Jamal, wished to present a Muslim point of view that is inclusive of all people in its egalitarianism.  The animation struck me as quaint in comparison with what I am accustomed to seeing, although I don’t know exactly why.  I think maybe because the figures were more robotic-appearing than human-like.

     McShayne voicing the haughty slave owner Umayya was just right in showing the sense of entitlement of the ruling class, and his well-taught son Safwan (Ryan and Wingert) took what he said to heart, implementing it whenever possible, being particularly focused on Bilal (voiced by Latimore and Akinnuoye-Agbaje).  Voice acting of the cast is very good in general.  

     There seem to be internal contradictions in the story (and perhaps it is true of most religions) between the messages of tolerance and the hostilities expressed among the characters.  Although Bilal comes to believe that the stick should be used whenever possible over the sword, killing and war (in which he participates) seem to be condoned. 

Although marketed as “a new breed of hero”, Bilal closely resembles heroes in many cultures: undergoing trials, maturing under the guidance of a wise guide, and transforming into a beloved leader.

Grade:  C+                                    By Donna R. Copeland

JOHN WICK: CHAPTER TWO

Keanu Reeves     Ruby Rose     Bridget Moynahan     Ian McShane     Laurence Fishburne    

John Leguizamo     Common     Ricardo Scarmacio     Lance Reddick

     It’s rather amusing that a group that thwarts society’s rules at every turn has a strict set of rules they must follow.  This is the world of crime syndicates, which John Wick (Reeves) became involved in, but is trying to leave it behind.  But Wick owes a debt marked with blood to Santino (Scarmacio), part of a crime syndicate, and Santino wants to extract payment.  No small thing; it’s to kill his sister, Gianni.  Santino wants her seat at the Table of 12, rulers of the syndicate.  But Wick is “out of the business” and refuses to do the job.  Pressure is brought to bear (as in fire-bombing his house), and Wick has no choice but to go to Rome and carry out the assignment.  Because the syndicate is rich and international—once again, with strict rules—Wick is given all kinds of luxurious accommodations (transport, hotel, grooming, and guns) to carry out his task. 

     He goes to Rome, is taken by surprise by Gianni, and Santino’s actions then make the story much more complicated.  The strict rules of the syndicate are broken, Santino is foolish in not listening to Winston’s (McShane) counsel, and so all hell breaks loose.

     The film maintains the momentum of the first film, and keeps us intrigued.  Writer Derek Kolstad made the script intelligent and gripping, throwing in line after line of quotable quotes:  “Death’s very emissary” (Gianni to Wick), “Consider this a personal courtesy” (spoken a number of times), and “What have you done?...Finished it.”  Dan Laustsen’s cinematography is breathtaking to look at on its own, the pièce de résistance, being the last shoot-out in a museum’s hall of mirrors (ironically called Search for the Soul).  And since the director, Chad Stahelski, is a former stuntman, he and his crew have highlighted the fights with masterful choreography.  (There are so many, that without the artful rendition, they would end up being boring.)

     Reeves continues in his ability to portray a powerful action figure with soulful inclinations and heartbreak while still being able to fight off however many adversaries come after him.  Supporting figures offering gravitas (McShane), intrigue (Rose), sleaziness (Scarmacio), depth (Common, Fishburne), and humor (Leguizamo), strengthening the movie’s quality.

     All in all, if the viewer takes to action films—with their obligatory car chases, loud gunfire, and choreographed hand-to-hand combat—John Wick:  Chapter Two will satisfy and please.  For others, it is a well-conceived and engaging story if your ears can take it.

Hold your hats for a crime story ride.

Grade:  B+                                    By Donna R. Copeland