John Wick: Chapter 4

The world constantly mutating as unforeseen predicaments arise and challenge, the longed for permanent uniform consistency only a computational strategic plan away.

The sure and steady undeniably preferable to intermittent chaos and flagrant eruption, if you value life and inherent stability replete with potential and equal opportunity.

Should the sure and steady contain a flexible matrix designed to multidimensionally incorporate, manifold intricate wide-ranging disciplines, civil society may indeed emerge.

Should there be stimulating opportunities to earn a disposable income and freely spend it, the intense longing for the unattainable will surely fade into jealous oblivion. 

It's difficult to say where things are headed with the rise of the autocrats and the pandemic having changed things, attempts to re-establish a steady routine fraught with haunting manufactured doubts.

Nevertheless, unhinged contemplation remains emancipated within film and books, the freeform embrace of uncanny narrative hopefully still resolute and daunting.

I suppose in my mind there's a distinction between artistic independence and the political, whereas a book that revels in unorthodox imagination doesn't risk economic turmoil.

When I champion alternatives and divergent ways and means of doing things, I'm generally referring to the artistic world where innate novelty exhilarates. 

With politics the provision of affordable food and steady employment seem of the utmost import, variety no doubt a driving force in the playful unpredictability of a diverse culture.

People at work and people at play the harmless facilitation of curious ways, when people routinely introduce chaos to the political scene because they find dynamic variety threatening, it's indeed most unfortunate, the results playing out in various stages.

It's like John Wick (Keanu Reeves) fights for respect the unwritten codes many people abide by, having been sincerely disrespected himself he introduces the chaotic element.

He just wanted to be left alone and enjoy his retirement in genuine peace.

But he possessed incomparable skill.

Worth too much to far too many.

A king without a kingdom a CEO with no business plan, just pure impeccable authentic resiliency flourishing within a democracy.

In a democracy you can disagree without being sent to prison or a re-education camp.

Respect dutifully leading to traditional argument.

Totally love this franchise.

Along with Clancy Brown cameos.

John Wick: Chapter 3 - Parabellum

Once again with the John Wick (Keanu Reeves) immortalizing survival, this time as the entire criminal underworld extolls chaotic fury.

Congenially, as he's wildly pursued, he seeks the loyal aid of his friends, even if there's little they can do, besides coax divine personal sacrifice.

15 million or so to take his invincible life, too tempting for foolish addicts, too irresistible for would be rivals.

He makes his way to Casablanca in search of He-Who-Sits-Above-the-Table, a lone trek across the desert awaiting, with no guarantee he'll be warmly received.

Yet fortune smiles kindly upon him, and indeed a new deal is made, but not without giving up freedoms, and returning to bogeyman shade.

'Til further complications arise which jeopardize so many many lives.

Madness in searing discountenance.

Focused through utter dysfunction.

Except for Wick of course, who instinctually governs dispassionately.

Although there are points where he could have succumbed, where he almost falls stricken asunder.

The action's intense and the bedlam well choreographed as multiple opportunists seek scathing derisive leverage.

But it isn't as nutso as I thought it would be, and though Wick's still embattled for much of the menace, I still thought there would be less dialogue, less lengthy non-threatening exchanges.

Another dog is imperilled, another ally outcast.

I understand that the dialogue is supposed to be raw, to reflect unpretentious communication with sincere direct honesty, but there are films who use similar conversational strategies which make more of a lasting impact, Paris, Texas, for one, Robert Rodriguez remaining the master.

The first John Wick film was just so good that I keep hoping for similar effects from its successors.

I love Terminator 3 for instance, I'll watch Alien 3 again, Star Trek III, Blade: Trinity, Die Hard: with a Vengeance.

Christopher Nolan's Batman Trilogy excelling far beyond my expectations, with august realistic agency, cinema needs more Christopher Nolan.

I don't consider the Iron Man or Thor films etc. to be trilogies anymore, rather I see them as instalments in an unprecedented colossus that's too vast for these kinds of comparisons.

John Wick: Chapter 3 - Parabellum's still cool though, I'll give it that, but it's not more than you would have expected.

The rest of the film could have been as impressive as the fight scenes.

I like how Wick understands animal kind.

John Wick: Chapter 2

Releasing a sequel to a visceral revenge film which shockingly surpassed critical expectations is a delicate affair, ironically in John Wick: Chapter 2's case, since you can no longer count on the objective bonus points freely dished out to reward the original's novelty.

You can sustain the momentum however, if you don't let the praise lift your spirits.

While still trying to craft another viral perplexity.

John Wick 2 sticks to the facts.

There are rules to be followed, no exceptions to be made.

Neither fairness nor camaraderie come into play.

At work.

In the age of the sensational superhero, Wick(Keanu Reeves) represents a humanistic counterbalance.

He may be the best assassin living, but he doesn't possess supernatural gifts and can contend without technological superiority.

He's just really freakin' good at what he does.

Don't screw it up.

Lickspittle.

Like pastis, grand marnier, amaretto, or amarula, with the humble demeanour of a 6 pack of bud, Wick reluctantly excels at authentically overachieving, with a kitschy pyrotechnic array of distinguished underground ex-factors.

It's enjoyable even if you know what's coming.

There's an art to writing blunt dialogue that leaves nothing to chance and states exactly what's on a character's mind.

The dialogue in Chapter 2 doesn't blow you away, but it, ah, sticks to its guns, with first rate integrity.

High-stakes slipstream.

Treacherous precipice.

Nocturnal necromancing nostrum.

They set up a hell of a third instalment.

Momentum sustained.

But the evocative visual style of the first film is missing.

There's a cool showdown (multiple cool showdowns) in an art museum though.

Professionalism oddly drives the narrative like sharks at corporate headquarters I suppose.

*Can one of these sequels be Man with the Golden Gunesque?

Chapter 2 is crazy violent.

John Wick

A surprisingly well crafted visceral revenge flick, a frenzy attuned to instinctual reflexivity, just in time for Halloween, John Wick delivers a fast-paced sophisticated personalized bloodbath, continentally conceived with considerations for respect, an elite world of criminals, immaculately imploding.

Wick (Keanu Reeves) is a legendary assassin who retired to settle down with his wife who then died, leaving behind a small dog to remind him of her.

He goes for a drive in his automobile one day, and the son of a Russian gangster requests its sale.

He refuses and drives away.

The son then visits him in the middle of the night, beats him senseless with the help of his goons, _____ the dog, and steals the car.

Wick wakes up the next day composed yet enraged, in preparation for an insane rampage designed to express his dissastifaction.

It's a very basic plot, but the visuals, dialogue, music, acting, and combat scenes crystallize a uniform carnal indignant balance, almost Lynchean in terms of surreal elegance, comedy awkwardly yet cursively situated to allow the film to concentrate on internal affairs (the police aren't involved [editing by Elísabet Ronaldsdóttir]), the invincibility factor realistically deconstructed inasmuch as Wick almost bites it a number of times, saved here and there, by trustworthy old friends.

I think the cast and crew really took the making of this film seriously which could be why it stands out.

Casting by Jessica Kelly and Suzanne Smith.

Look for David Patrick Kelly.

Probably didn't have to be quite so violent.