Drink back,Mr. Wick. Four times after " John Wick Chapter 3 – Parabellum," director Chad Stahelski and Keanu Reeves have returned to theaters with" John Wick Chapter 4," a film that was supposed to hit theaters  nearly two full times agone.

Trust me, It was worth the delay. Stahelski and pens Shay Hatten and Michael Finch have distilled the tradition-heavy approach of the last couple chapters with the streamlined action of the first film, performing in a final hour then that stands among the stylish of the  kidney." John Wick Chapter 4" opens with its title character( Reeves) on the run again as the  unlawful Powers That Be known as the High Table get in his way.The main villain of the series is the Marquis de Gramont( Bill Skarsgård), a leader of the High Table who keeps raising the bounty on Wick's head while he also cleans up the messes left before, including potentially  barring Winston Scott( Ian McShane) and his part of this  unrighteous association. The opening scenes take Wick to Japan, where he seeks help from the head of the Osaka Continental, Shimazu( Hiroyuki Sanada), and runs afoul of a eyeless High Table  homicide named Caine( the badass Donnie Yen). Laurence Fishburne pops up now and  also as Wick's Q when the killer needs a new bulletproof suit, and Shamier Anderson plays an  homicide who seems to be  staying for the price on Wick's head to hit the right  position for him to get his payday. further than the last couple of  flicks, the plot then,despite the movie's  grand runtime( 169  twinkles), feels refreshingly concentrated again. Then is John Wick. Then are the bad guys.

Go! And go they do. Stahelski and his platoon construct action sequences in a manner that ever feels both critical and artistically arranged at the same time. Filmmakers whoover-think their shoot- outs frequently land on a tone that feels distant, lacking in stakes, and feeling further swish than substantial. The great action directors figure out how to retake combat in a way that does not immolate pressure for showmanship. The action sequences in" John Wick Chapter 4" are long battles, gun- fu shoot- outs between John and dozens of people who underrate him, but they've so  important  instigation that they do not overstay their  hello.   They also have wonderfully defined stakes. At one point in the film,John and an adversary decide on the parameters of a battle, including time, munitions, and variables. But this is really true of all the major action scenes, in which we  veritably  easily understand what John needs to do and who he needs to go through to" finish the  position." The simplicity of  objects allows for complex choreography. We know what needs to be for John to keep pushing forward as he has since the  morning of the first film. So  important  ultramodern action is cluttered with characters or muddled  objects, but the" Wick"  flicks have  similar brilliant clarity of intention that they can  also have fun within those simple constructs.   So  important fun. The choreography of the action then can be simply  stirring. I loved how  frequently the world goes on around Wick and his unfortunate combatants. In a sequence that would be the stylish in  nearly any other recent action movie( but is like 3rd or 4th then), Wick has to battle a makeup- covered Scott Adkins and his army of unlucky idiots in a crowded  café . The  hop  slightly notice. They  occasionally part a little bit to let them through, but they do not stop and  gawk. With water pouring into the club, the writhing, and dancing bodies make for such a visually inventive background. latterly, in one of my favorite action sequences of all time, Wick and his bloodsuckers battle in the business circle around the Arc de Triomphe. The  buses  do not stop. In fact, it feels like they speed up. As shots ring out in the  thoroughfares in this film, no bone

opens the window to see what the hell is going on. The world outside of Wick and the tradition of this world nearly feels like they can not indeed see the fabulous homicide and the hundred or so people he ends up killing. It's a fascinating, visually striking choice. And also there is what I would call Action Geography. So numerous people have tried to mimic the wild approach of the" Bourne" pictures, and the results have frequently been further incoherent than not. The amazing photographer Dan Laustsen( a regular Guillermo del Toro collaborator on" The Shape of Water,"" Agony Alley,"and more) works with Stahelski to make sure the action then's clean and brutal,  noway  confusing. The  trick work is phenomenal, and, again, the shoot- outs have the  sense of  cotillion  choreography  further than the  mellow plot- pushing of so  numerous plant  flicks. There is just so  important grace and  imagination whenever Wick goes to work.   Of course, a great cast helps too. Reeves might have smaller lines in this movie than any so far in the ballot, but he  fully sells Wick's commitment while also  investing him with emotional  prostration that adds  further  graveness to this chapter. The revengeful Wick of the first film is a different bone

than the survivor three pictures latterly, and Reeves knows exactly what this character needs. So numerous players would add gratuitous traces to a character that is formerly this popular, but Reeves is smart about streamlining this performance to fit the film around him. It also allows for a many sympathizers to shine in different performance registers, especially yearning and Anderson. The fabulous yearning is fantastic then, not just in combat but the moments in between. utmost people who know who Donnie Yen is will not be surprised to hear that he fits by then impeccably, but he is indeed better than you anticipate. Anderson also gives a fun performance as a man who just seems to be a  greedy waiting for the right price, but  suckers of the series will note from the  morning that this badass has a canine, and this  macrocosm values puppies and people who love them.   The only minor  excrescence in Wick's armor then's a bit of narrative  tone- indulgence. There are a many scenes, especially beforehand, when it feels like a beat is going on a bit too long, and I do  suppose there is a slightly tighter( if you can say 150  twinkles would be tight)  interpretation of this film that is simply perfect.   suckers will not  watch.important has been made of what brings people out to theaters in thepost-pandemic, streaming-heavy world, and this is a movie that should be seen with a  réclame, agitated crowd. It has that contagious energy we love in action  flicks — a whole room of people marveling at the  imagination and intensity of what is unfolding in front of them. It's a movie that is meant to be watched loud and big. John Wick has fought hard for it