Cast: Keanu Reeves, Halle Berry, Ian McShane, Laurence Fishburne, Asia Kate Dillon, Mark Dacascos, Lance Reddick, Anjelica Huston
Director: Chad Stahelski
Running time: 2 hours 10 minutes
by Jericho Cerrona
Director Chad Stahelski leans even further into the mythology and creative action sequences of the improbable John Wick series with John Wick: Chapter 3 Parabellum; a self-aware riff on the absurdity of modern action cinema where Keanu Reeve’s retired hitman takes a beating and keeps on killing and killing, and then when he’s finished killing, he kills some more.
The attempt to top the meticulously crafted mayhem of the first two films is alive and well right from the outset, which picks up exactly where John Wick: Chapter 2 ended with our hero fleeing for his life after killing an influential crime lord. Meanwhile, Winston (Ian McShane) provides his old friend a grace period window before he’s “excommunicado” from the criminal safe space of the Continental hotel, even as the bounty of $14 million on Wick’s head mounts. During the film’s first 30 minutes, Stahelski and his talented team of stunt performers unleash some dazzling set-pieces; like a knockabout knife/hatchet fight that goes from playful to grotesquely comic, and a scene set inside a horse stable which features some unexpected equine weaponry. All the while, Reeves looks convincingly exhausted as he throws out the occasional deadpan one-liner in between imaginative kills.
While this opening stretch of John Wick: Chapter 3 Parabellum is breathlessly paced and excitingly choreographed, there’s a sense in which the franchise is starting to spin its wheels. Whereas the second film expanded the goofy assassin lore and added a few wrinkles to Wick’s backstory, Parabellum merely pads out the running time with over-extended plot mechanics and nonsensical detours. For instance, while it’s nice to see Halle Berry onscreen as an ex-assassin who owes Wick a favor, her character is so underdeveloped that when she abruptly vanishes from the film, you forget why she mattered to the story in the first place. Perhaps the most interesting new addition to the cast is Asia Kate Dillon as the Adjudicator, a no-nonsense messenger for a shadowy group known as “The High Table” who comes in to stir up the natural order. Her purposefully flat line delivery and steely gaze gives the film an arch tone which is welcome amidst all the blood-letting and shotgun shells to the noggin.
The baroque world-building of the series continues to both intrigue and annoy; some of the High Table material feels half-baked, for example, while Lawrence Fishburne’s underground homeless hitman lair feels almost secondary here. Still, the goings on at the Continental remain self-aware as ever, especially the keen performances of Lance Reddick and Ian McShane as the hotel concierge and manager, respectively. As far as John Wick himself, it almost feels like the character is a cartoon at this point, with Reeve’s innate charm and comic timing not being well utilized in this entry.
Of course, audiences come to this franchise for the action, and on that front, Parabellum delivers the goods. The variation from gun-based action to swords, knives, and martial arts (complete with several performers from The Raid films showing up for glorified cameos), is a step in the right direction, though the movie’s last half does drag a bit. There’s only so many set-pieces with variations on punch, kick, shoot, stab (repeat) that can be staged before everything begins to feel rote, and the inclusion of testicle-biting dogs and a sword fight blanketed by mirrors simply feels like minor tweaks to a formula that’s beginning to grow repetitive.
It’s no big surprise that at the end of John Wick: Chapter 3 Parabellum, our hero is left for dead as the criminal underworld tries to readjust. Leaving things open for a fourth chapter is a no-brainer, but it also presents an interesting challenge for the filmmakers. With each absurdly graphic dispatch, Wick grows more weary and defeated. How long can he keep this up? Is the entire population of New York secretly assassins? Where will our intrepid killing machine go next, Canada? As the franchise expands the mythology and attempts to top the previous action set-piece, the specter of John Wick as a man who lost everything he loved bent on revenge, dwindles. He’s essentially become a prop in his own films now, dwarfed by choreography, shattered glass, hacked limbs, brain splatter, and the need to exceed expectations.