Sprawling action sequences overpower a bloated story in the latest high-powered John Wick installment
films, again applies his rich experience as a stuntman to the movie’s action sequences. This, after all, is the meat-and-potatoes appeal of the franchise. Stahelski’s exacting sense of choreography is perhaps most on display in an extended single-take sequence shot from above, surveying mayhem across multiple rooms.
Part of the strength of the series, and especially the sequels, has always been the marriage of its form and content—the design of stylish, saturated, sometimes neon-tinged modern paintings which come to brutal, bloody life as Wick whirls around, dispatching a swarm of enemies. Working again with Oscar-nominated Dan Laustsen , Stahelski serves up a somewhat mixed bag.
Much better is an early Osaka sequence involving Caine, Koji, Wick and others, in which the former imaginatively uses motion detectors and echo location to set up opponents for both blows and thrusts of a blade. The most memorable moments, though, arrive late in the film. As Wick makes preparation for a sunrise duel, he’s beset upon by hordes of thugs seeking to collect a bounty on his head, and has to do battle with seemingly half of Paris on the city streets.
The film cries out for moments of quiet and reflection amid the din. The filmmakers try to touch on this with Mr. Nobody’s dog, but a conversation with Winston and the Bowery King about gravestone markers, for example, just comes off as clumsy.As a hitman, Wick is a solitary and private figure, so these realizations need to reflect that interior nature.
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