‘John Wick 4’, the culmination of the saga’s action, does justice with its unbeatable climax

An undeniable climax, of those that cause the entire film to be re-evaluated, is the most characteristic of ‘John Wick 4’, whose last action sequence is crowned with metaphorical charge, emotional background and visual appeal. But the journey up to that point isn’t without its ups and downs when it comes to pacing, and it suffers from a constructed storyline that quotes the High Table but maintains its impunity, which is somewhat disappointing. These controversial elements within the film’s narrative construction are compensated, yes, with more than challenging melee and focused action from the sensation of the franchise’s pinnacle.

The work of Donnie Yen and Hiroyuki Sanada is tremendously remarkable, additions whose craftsmanship shines above all else. It’s such a treat to watch them perform a choreography they can’t get more juice out of. Your teamwork is excellent. but the most striking thing is how they maintain their style even immersed in the eye of combatbeing his characters a luxury addition.

Sanada plays Shimazu, the owner of the Osaka Continental, one of the best-planned scenarios and which also stars Rina Sawayama as Akira, Shimazu’s daughter and hotel concierge. Sanada has his own expertise as a tool, a career centered since the mid-1960s 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 who embodies “John Wick 4”. It’s fascinating how far Sawayama hits the mark considering her lack of screen experience, anyone would say 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 the effort he claims to have made to sustain this character from an escape from stereotypes. When he said yes to the role, he asked not to call his killer “Shang or Chang” and that the costumes should be in line with the saga, not what one typically expects in Asian profiles. With that Westernization and an unbeatable performance from the point of view of Caine’s blindness, Yen is unquestionably crowned. Furthermore, precisely because of the aforementioned visual impairment, his action sequences are exceptionally spectacular, with a solid representation of this way of fighting prone to lack of vision, and an intelligent use of gadgets, in their right 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 one-on-one combat. Tracker, a ground-based assassin played by Anderson, has a special ability to hunt down his targets and has an iconic ace up his sleeve: his dog. This resource, which could have been perceived as easy, is carefully constructed resulting in an interesting contribution to the chase, a nice nod to the saga and for the fans, and an essential connection between Tracker and Wick. The dynamic between Anderson’s mercenary and his faithful companion works so well given the demands of a film of this genre, that this character asks for more screen time (as also happens, albeit for other reasons, with Sawayama’s Akira) .

For his part, Skarsgård does the job he has to do, taking advantage of his left point and offsetting that somewhat bland approach to 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 lethal as arrogant trying to remedy something that can not 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, with which Marquis really fights is Winston, a veteran of the saga before whom justice is done.

Lance Reddick as Charon and more Ian McShane as Winston, face immeasurable loss early in the film, a key element in McShane’s character motivations who ends up taking revenge for much more serious wrongs. So, with the King of the Bowery (Laurence Fishburne) very angry about him, and Winston pushing the limits of his patience, one would expect a heavy blow to the top of that High Table which is really unaffected by the conflict. This is precisely the least solid part of the reasoning, which never ceases to shake the top exponents of this world of assassins who think, the spin-offs? The continuation of the saga?

Everything more and better?

The action, a fundamental element of ‘John Wick’ which has made its contribution to the iconic genre thanks to the originality, brutality and consistency of its sequences throughout the entire franchise, it is outlined by thinking of the one most and best associated with the sequels. Building on his nearly 10-year presence on the big screen, several spectacular set pieces are the backbone of ‘John Wick 4’.

While some work practically like clockwork, others abuse that suspension of credibility that doesn’t quite work when extended to the Wick environmentBut all suffer to a greater or lesser extent from an irregular rhythm, a victim of that generosity with durations which has become so fashionable. It takes Chad Stahelski 2h 49min to plot and visually develop a story that, according to him, needs that time, but at the moment of truth he calls for cuts.

It requires scissors especially in large sequences which, coupled with their spectacularity, come with creative decisions that are difficult to embrace. The representation of all that surrounds Wick and his pursuers in both the main piece set in Berlin and in the fast and furious set in Paris, it requires an uncomfortable leap of faith, something new in the saga.

You can feel the pressure Stahelski is taking on when it comes to being visually and choreographically original, which denotes some success in both fields, as much as the production design is still wonderful. There are equally spectacular shots in his head and shots that David Leitch, producer and saga specialist, focused much better on his misadventures away from Wick, such as “Atomic”. What, conceptually speaking, might not be a bad idea, in some cases doesn’t quite translate into practice, such as a surprising overhead that takes away a lot from the film. As for the script, the worst thing is the approach to the conflict with the High Table, but in general Derek Kolstad is missing, screenwriter who this time has been left out.

Keanu and a perfect climax

Surely, with its successes in sight and its failures in the rear view mirror, ‘John Wick 4’ is on top again thanks to Keanu Reeves and very distinctly in step with its climaxresolution of the arc with which the viewer is inexorably won over because it is not only an icing on the cake for this film, but also for the entire saga.

Reeves catches shots like only John Wick can, giving it his all when there’s no other way and carrying the weight of pain and years in the very brief moments of rest. His figure as a man of few words is maintained, which accentuates the significant increase in chatter in other characters on whom the weight of that plot falls with the High Table who happens to reconquer 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. who, logically, feels more comfortable embracing that language, both physical and violent.

It is true that as High Table norms and developments weaken, the connections between the charactersanchored to the emotional plane that attracts elements such as respect or admiration, they are posed with much more gusto which helps the last big action sequence and tense climax. Structured around the height of Rue Foyatier, widely traveled to connect Saint-Pierre with the Sacré-Coeur, said scene is an absolute delight for fans who 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 the story and are tied in the face of the farewell.

It’s better not to mention anything about the result. With saying that the creative choice that supports it is round, right, emotional and key: enough. Again, there is a certain compositional detail that could use a little more attention, but it’s an anecdotal matter that is forgotten under the moving weight of the moment, a visually precious moment that reaffirms the exceptional picture that Paris represents. at the same time remember how magical movie endings can be. A closure to be experienced in theaters, without a doubt.

Note: 8

The best: The result, no doubt.

Worse: That excess length comes to weigh and break the pace in some truly remarkable action sequences.