John Wick 3 – Available Chad Stahelski | Review


Published on May 17, 2019


The point in not saga of John Wick has never been to try to explain the world that Chad Stahelski had created and was going to put in the scene, how to use mythology as a vehicle for the incredible action scenes of asian mould: if the Matrix, where Stahelski was his stunt double to Keanu Reeves, in 1999, had resulted in the blockbuster western, the strokes of the gonfu and cantonese in general a bit’ all the features and ways of doing of the action asia, the franchise and John Wick is doing the same thing, stripping away the sci-fi and put it in a context, b-series raw and naked, filmed with high class.

John Wick 3 – Cartridge is not the step forward that instead of the masterpiece John Wick 2 was in respect of the first John Wick 2014 says a lot about how the first two movies have meant to this specific type of model, hollywood, namely the budget (relatively) reduced the services provided to productions are completely original, that are not adaptations or prequel or remake of the other.

From the point of view of the action of the new film of the saga does not move a comma, the visual language created by the chapter in 2017, which was more energetic, more lively, ironic and inventive, both from the point of view of the choreographic narrative – and the subtle sub-text to associate with the stunt-action the art: each fight takes place in a place of art and even the choice of equipment was associated with the culinary art, fashion and architecture – but it is mainly from the point of view of the plot of John Wick 3 shows the side, not so much because of the twists totally brutish, but above all, a second act that turns always to the vacuum.

He wants to show us, show us things and tell us of new and continuous, Available, without, however, the mystery and the taste of the construction of a mythology that had characterized the previous film. For the first time, John Wick – and the characters who populate his world – they talk, to explain (I've always been a film on the consequences and on the breaking of the rules and had always been obvious that they were, but here for the first time, what there is of the explicit and the not-too-finely, on the contrary, with a redundancy almost pathetic); and it is a real shame, because the initial one and the final one in at the Continental (on the inside, then when you exit out of mmm) are two acts splendidly managed.

The specificity that had characterized the first two films, which were very different between them (the first one is a revenge movie, the second more metaphorical was anything but as said above), you can breathe even here, especially in the opening minutes, when the franchise turns to survival pure. The stunt with the dogs are awesome, the one with knives is deadly, and the sequence in motion that quotes a Korean film that we saw at the Festival of Cannes a couple of years ago (The Villaines of Jung Byung-gil) is excellent, as is the excellent action of the final openly inspired by the last act of The Killers by John Woo (very clear in establishing the scaling relationships between the forces in the game, with the ingenious idea of protective suits ... this is an idea worthy of a franchise so resourceful!).

The problem is that the goal was clearly to expand the mythology of the world of the franchise, but the novelties introduced with respect to the previous chapter are very, very few, except for a few sultan chatty and coins black. Return of the pawn shop, you go in Casablanca (amazing how, when a movie from its natural habitat will move to Casablanca, it always seems to go in the territory of the cinema of Michael Curtiz), there is Halle Berry, for about twenty minutes, despite the seriality is teaching at the cinema that there is a need for a building of more long-lived to attach the audience to the drama of a character), there is a version of the belarusian the Red Room of the Black Widow of Marvel Studios, but there is this propensity exhausting to spiegone that sluggish too the rhythm.

The sequences of action, as in the rule for the standard in asia, still remain out-of-scale for the cinema of the west.

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