John Wick (2014)

An ex-hit-man comes out of retirement to track down the gangsters that killed his dog and took everything from him.

Jess’ Review

I’d heard lots of good things about John Wick, but had consistently swerved it on account of the multiple sequels it spawned. It was too quick, and in my mind marred the film as just another Hollywood-action-franchise cash-grab. After today’s viewing, I see that I was harsh, but not entirely wrong either.

Starring Keanu Reeves as the titular, mysterious but likeable ex-hitman, John Wick has a simple, linear plot. One of vengeance. I don’t have an issue with this and in truth, the first half was executed fantastically. Blunt, uncomplicated with a solid foundation, but it wears thin. I wanted more depth, more intrigue and was ultimately left disappointed as the simplicity grinds the film into the ground. I realise on reflection, John Wick is a typical crowd-pleaser and I was simply duped by its strong casting and glossy finish into expecting more.

Keanu Reeves is on good-form in a limiting role. It’s not a lot to work with, and Reeves’ performance generally consists of impressive action sequences and stunts by the end of it. Supported by Willem Dafoe (an underrated gem) and Michael Nyqvist, the acting is predominantly solid given the dialogue restrictions. John Wick is most definitely a film where actions speak louder than words.

For me, the biggest appeal of the film is its visuals. It’s slick. Slick in the form of glossy backdrops, smooth transitions, a modern pulsing soundtrack and an eclectic colour palette of neon hues. It looks good, and I found myself enraptured in gunfights that might otherwise look drab and dull when removed from such vivid environments. The criminal underbelly of Wick’s world is more glamour than grit, but surprisingly it works. The film is easy on the eyes, and quick to ensnare your attention.

Despite all its strengths, for me John Wick drops off hard in the second act. Everything feels rushed; and perhaps that’s deliberate, to reflect the nature of the so-called ’cleaner’ industry. But I think that would be too convenient an excuse. The emotional connection to Wick is lacking and it becomes more and more apparent. Whilst I was all for his murderous motives after the heartbreaking 15 minute opening of the film, I just felt a bit so-so by the end. There aren’t any stakes, and even if there were, I don’t care enough for the characters anyway.

All in all, John Wick is one of the better action films to come out of recent times. The cinematography is glorious, and the plot itself isn’t quite as bad as I might make it out to be. It’s all just a bit ‘meh’. Shiny but forgettable.

7/10

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Sam’s Review

John Wick is an ode to neo-noir. It's use of bright, but still muted, neon colouring against darker backgrounds is gorgeous. It comes across visually striking, exciting and brooding. The use of blue and red, two typically contrasting colours, mellowed out and subtly merged, is intoxicating. Akin to a beautiful hallucination, I imagine.

It's a sharp film, kinetically speaking. The movements are precise, and seem sped up a fraction of a second. It makes watching the action sequences a joy, as you can truly appreciate the choreography. And it doesn't glorify the violence, it's deemed a regrettable necessity. Yet, when John Wick (Keanu Reeves) gets going, he becomes a master assassin with a sixth sense for killing. 

It has a fantastic cast. Michael Nyqvist and Alfie Allen play father-son pair, Viggo and Iosef Tarasov. Iosef is the arrogant son, confident that his father's name will protect him. Viggo is a Russian businessman with criminal ties. While Allen's accent range is impressive, Nyqvist is the stand out. It would have been so easy to play Viggo as a stereotypical mob boss villain, yet Nyqvist brings a quirkiness to the role. In fact, because of his playful nature, it's hard not to find Viggo likeable on some level. John Leguizamo as Aurelio and Ian McShane as Winston are respectively underused. Leguizamo is a fantastic actor, and I'd have liked to see more of him. McShane's Winston was shrouded in mystery, but clearly there is a history there. And the gravitas that the character has would have made it interesting to see his story told further. As for Reeves, this role was built for him. Reserved and quiet, but occasionally, very occasionally, emotionally charged.

There is a mythology to the writing. A society of assassins, that have rules and ways. There's such tantalising depth to this created culture that we never get to see, or is never fully explained. The gold coins, for example. It's extremely clever. What is shown makes the film become more believable, but it also leads to the possibility for expansion down the line. And the way Wick and Viggo move and interact, it feels as if modern Gods are clashing. Though the side-plots are hastily, and perhaps sloppily, tied up, and the premise can become loose at times, it's a slick film that sets it's pace and keeps it. 

Its colour palette pops off the screen, visually stimulating your interest, while the action is crisp and exciting, often done over a fantastic soundtrack. The acting is great, though a shame that Leguizamo and McShane were not utilised more. And the story, while not the best, keeps you intrigued until the very end.

7.5/10