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‘john wick: chapter 4’ review: latest entry in keanu reeves franchise is pure, over-the-top action spectacle.

Donnie Yen, Bill Skarsgard and Scott Adkins are among the newcomers for this new installment of the big-screen series about the hitman who just can't stay successfully retired.

By Frank Scheck

Frank Scheck

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The creatives behind the John Wick franchise must lose sleep at night thinking how they can outdo themselves with each new installment. If so, it makes a strong case for insomnia, since John Wick: Chapter 4 outdoes its formidable predecessors in nearly every respect.

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“The bloodshed in Osaka was not necessary,” one character observes after a typically violent melee in a luxury hotel that leaves scores dead and the premises practically in ruins. “The bloodshed was the point,” says another. And so it is with this hugely successful series featuring Keanu Reeves as the former hitman who thought he was out, only to be pulled back in, after his beloved puppy was killed in the first film. The bloodshed is the point — or, more accurately, the amazingly choreographed and photographed action sequences that make particular use of the combination of martial arts and gunplay battling known as “gun-fu.” This edition ups the ante further, with an impressively executed car chase/gun battle through the streets of Paris — including around the Arc de Triomphe — that brings “car-fu” into the violent mix.

Things aren’t going too well for the titular character as the film begins, which for him is not unusual. The High Table, that international criminal organization that seems to run the world, is out for his blood. To that end, their representative, the Marquis ( Bill Skarsgard , enjoyably playing a character only slightly less villainous than his Pennywise), puts a huge bounty on his head, attracting such freelance operatives as the Tracker (Shamier Anderson), who doesn’t go anywhere without his loyal, and very lethal, Belgian Malinois. The Marquis also hires the blind but no less dangerous Caine (Hong Kong superstar Donnie Yen ), a former friend of Wick’s who only accepts the assignment because the High Table will kill his daughter if he doesn’t.

Newcomers to the series would do well to do some research beforehand, because as the above summary indicates, mythology is a strong element. It could be argued that, like so many franchises dealing with fantasy worlds, the creators have gotten carried away with their convoluted constructs. I won’t make that argument, since I consider the elaborate world the John Wick films have created, which looks so much like ours, to be one of its most delicious elements. But you couldn’t blame repeat viewers watching the film later on via streaming for fast-forwarding through the talky parts to get to the action.

To recount the highlights of those elaborately staged set pieces would take up too much space, because there are so damn many of them. (Fourteen in all, according to the filmmakers. I can’t vouch for accuracy, since I lost count.) Besides the aforementioned car chase and hotel battle featuring guns, swords, bows and arrows, and a large variety of improvised weapons (a Wick specialty), there’s an amazing fight scene set in a water-drenched, multi-level nightclub featuring hundreds of revelers who barely notice the face-off between Wick and the gold-toothed Killa. The latter is played by action movie star and former MMA fighter Scott Adkins, amusingly outfitted with prosthetics and a huge bodysuit that somehow doesn’t hamper his fighting skills.

Director Chad Stahelski , who helmed all the previous films, and his formidable stunt team have outshone their previous work, and that’s saying something. These sequences play like the great dance numbers in old MGM musicals, complete with incredibly complicated, lengthy continuous shots that feature the full bodies of the performers rather than kinetically edited snippets of a gun here or a limb there. They’re so virtuosic you practically want to stand up and applaud when each one is over.   

Unlike so many films set in exotic locales that deliver a few establishing shots of local landmarks before filming in nondescript spots somewhere in Canada, John Wick: Chapter Four uses its many locations in Paris and Berlin to fantastic effect. A particular hoot are the scenes involving the dandyishly dressed Marquis, who only seems to conduct his business in such venues as the Paris Opera House and the Louvre, both of which he seems to have at his personal disposal.

Reeves, at one point outfitted with a Kevlar suit and shirt that enables him to get shot seemingly thousands of times without getting hurt (he uses the lapel like Dracula’s cape), commits so thoroughly to the role’s insane physical demands that he should get an award, if not for acting, then merely surviving. But he plays Wick so perfectly that he manages to rouse the audience merely with a passionately expressed “Yeah!”

Running nearly three hours, John Wick: Chapter 4 can certainly be accused of being too long. But I doubt many fans will be complaining.

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‘John Wick: Chapter 4’ Review: There Will Be Blood, Yeah

In the latest and longest movie set in Wick World, Keanu Reeves’s titular assassin visits Paris and paints the town red.

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By Manohla Dargis

A vulgar pleasure of the “John Wick” series is that it aestheticizes violence without the usual blah-blah rationales and appeals to conscience. At once basic and off-the-charts nuts, each movie — the fourth opens this week — centers on a laconic assassin with a hazy back story and extraordinary skills. A virtuoso of death, Wick (Keanu Reeves) has his reasons, or so the series insists, but he kills because it is what he does. It’s his thing. “Deserves got nothing to do with it,” as Clint Eastwood says in “Unforgiven.”

Eastwood is in the DNA of the “Wick” series — and in the way Reeves deliberately draws out the word yeah — and so too are Jean-Pierre Melville, Jackie Chan, Buster Keaton, John Woo, Fred Astaire, “ Point Blank ,” the Three Stooges and “ Get Carter .” That said, the overall story is stripped down to the point of minimalism, especially when compared to the average superhero bloat-a-thon. In the first Wick movie, the assassin resumes his bloody ways after gangsters kill his puppy — a gift from his dead wife — and steal his car. Before long, he has antagonized his former employers, a villainous syndicate called the High Table.

Despite its seemingly Hobbesian aspect, Wick World does have rules, and by the second movie, the character is declared “excommunicado,” a word that underscores the High Table’s profile as a shadowy, quasi-religious elite manifestation of absolute power. The conceit of an all-knowing, all-seeing group of underworld puppet-masters is primo movieland conspiracy-theory and very of the moment; it’s silly, nebulously political, and it gives viewers wide latitude to interpret the movie however they prefer — or they can just groove on the plush trappings, exotic locations, exploding heads and bodies in glorious motion.

The series’s director, Chad Stahelski, is a stunt veteran (he’s doubled for Reeves), so he understandably likes to show off bodies as they move — pivot, soar and fall — in space. He uses plenty of close-ups and medium shots, but he also likes to pull back for full-figure framing à la Astaire. This allows you to see and luxuriate in the performers’ physicality, in their grace and steely power, as well as to appreciate the geometry and precision of the fight choreography. This focus underscores the frailty and impermanence of these bodies, their humanness, especially Wick’s as this seemingly invincible man is repeatedly brutalized.

Written by Shay Hatten and Michael Finch, “John Wick: Chapter 4” pretty much plays out like the previous movies, though at a generally fast-moving 169 minutes it’s longer. Even so, it rarely drags because there’s relatively little dialogue and down time. For the most part, Wick chases or is chased by other assassins, shooting and stabbing, grappling and grunting in a series of visually distinct, meticulously staged and filmed set pieces. Every so often, he confers with old comrades, notably the sonorous, bassy trio of Ian McShane, Laurence Fishburne and Lance Reddick ( who recently died ), performers who add luster and history to the series with their singular faces, hard-boiled résumés and perfectly tuned arch deliveries.

There are new faces, among them cautious friendlies (Hiroyuki Sanada, Rina Sawayama), sympathetic combatants (Donnie Yen, Shamier Anderson) and another filthy-rich villain (Bill Skarsgard), a Euro-trashy baddie with bespoke glittery suits and a taste for torture and classical music. The series has expanded its New York-centric geographical coordinates, and while it jumps to the Middle East, Japan and Europe, it continues to stick close to its circumscribed template. So, the High Table’s tattooed minions in pencil skirts are back. There’s yet another dog and another elaborate sequence at a crowded dance club (the streets are empty by comparison) but, crucially, still no sign of the modern surveillance state.

The constraints of Wick World put it safely on the side of full-blown fantasy, giving the series the feel of a grim fairy tale. It might seem like a distorted mirror of our world, but what’s notable are all the ways it’s different from ours — not just in its depiction of power but also of violence, which, for all the arterial spray, is as untethered from reality as it is in zombie flicks. When Wick faces off against challengers at the Arc de Triomphe in “Chapter 4,” there are no gendarmes, no blaring sirens or screaming bystanders to interrupt the kinetic flow. There is simply and once again Reeves, the axis who centers this franchise with his grave sincerity, beatific glow and mesmerizing, rooted fighting style, with its heavy-footed solidity and surprising suppleness. No matter what happens, nothing ever feels as poignantly at stake here as Reeves’s own ravaged, beautiful, aging body.

There are offscreen stakes, of course, starting at the box office, but central to this series’ appeal is how it reminds you of the real world — through the years between sequels and Reeves’s gray hairs — even as it remains insistently apart from reality’s messiness, its confusions, existential terrors, corporate overlords and unspeakable ordinary brutality. Life for many in Wick World is, to borrow Hobbes’s formulation, “solitary, poor, nasty, brutish and short,” but it’s also sentimental and filled with friendships or at least alliances. It’s also reassuringly ordered, never more so than in its violence, which in Wick World is pure, eye-popping, body-shaking, transporting entertainment, something that (to borrow from another philosopher ) has a good beat and you can dance to.

John Wick: Chapter 4 Rated R for the usual bang-bang, stab-stab. Running time: 2 hours 49 minutes. In theaters.

Manohla Dargis has been the co-chief film critic of The Times since 2004. She started writing about movies professionally in 1987 while earning her M.A. in cinema studies at New York University, and her work has been anthologized in several books. More about Manohla Dargis

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Common sense media reviewers.

Action film is stylish, entertaining but extremely violent.

A Lot or a Little?

What you will—and won't—find in this movie.

Your past may catch up with you, but that doesn't

Despite being an assassin, John Wick is principled

Keanu Reeves, who is multiracial, plays a characte

Brutal: It feels like two-thirds of the film is ma

Couples kiss. A singer in a nightclub performs in

Frequent language includes "f--k," "s--t," "goddam

Several products/brands seen, including Apple, Che

Characters drink, usually hard liquor. Partiers at

Parents need to know that John Wick is a brutally violent, frequently bloody thriller starring Keanu Reeves as an assassin. There's a very high body count: Characters are shot, maimed, stabbed, beaten, threatened, killed with firearms at close range, blown to bits in an explosion, strangled with bare hands,…

Positive Messages

Your past may catch up with you, but that doesn't mean you have to let yourself get caught up in it.

Positive Role Models

Despite being an assassin, John Wick is principled: He only hurts those who hurt others. Still, his "field" isn't exactly one that inspires admiration, at least from outsiders.

Diverse Representations

Keanu Reeves , who is multiracial, plays a character that passes as White. Supporting characters include Aurelio (played by Colombian American John Leguizamo ), Charon ( Lance Reddick ), who's Black, and the Doctor (Randall Duk Kim, who's American of Chinese-Korean descent). Though they play villains, White characters are just as amoral, which helps the film avoid stereotypes. John's dead wife strongly falls into the Hollywood cliche of killing women in order to spur a male hero into action.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Brutal: It feels like two-thirds of the film is made up of killings, and much of the violence is presented in a stylized, semi-glamorized way. Characters are shot, maimed, stabbed, beaten, threatened, killed with firearms at close range, blown to bits in an explosion, strangled with bare hands, and more. There's blood everywhere. In one of the most disturbing scenes, a man clubs a puppy to death; a trail of blood is shown leading to its carcass. In another extended scene filled with mayhem, the body count exceeds three dozen.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Couples kiss. A singer in a nightclub performs in a leotard. Men and women wear bathing suits.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Frequent language includes "f--k," "s--t," "goddamn," and more.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Several products/brands seen, including Apple, Chevrolet, Mustang, Acura, and Peligroso liquor. The film is the first of a franchise.

Drinking, Drugs & Smoking

Characters drink, usually hard liquor. Partiers at a bar swill champagne. One person smokes marijuana. Cocaine is shown but not used on-screen.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that John Wick is a brutally violent, frequently bloody thriller starring Keanu Reeves as an assassin. There's a very high body count: Characters are shot, maimed, stabbed, beaten, threatened, killed with firearms at close range, blown to bits in an explosion, strangled with bare hands, and more. And especially because so much of the violence is depicted in a stylized, semi-glamorized way, it's best reserved for the oldest teens and adults. Interestingly, a streak of humor also runs through it, and fight scenes choreographed so thrillingly that it's almost like watching ballet -- albeit a gunshot-riddled, rough-and-tumble one. You can also expect lots of swearing ("f--k," "s--t," and more) and a fair amount of drinking, as well as pot smoking. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Community Reviews

• Parents say (46)
• Kids say (157)

Based on 46 parent reviews

Good some bad scenes

John wick gets violent and has language, but avoids gore-good for mature young teens, what's the story.

JOHN WICK ( Keanu Reeves ) is a retired assassin who was once the best in the business. But after a long illness that leads to the death of his beloved wife ( Bridget Moynihan ), he's pulled back into a world that he left long ago for love. A chance encounter with the entitled, violent son of an old associate ends up with John bloodied in his own home and the dog his wife left him as a parting gift slaughtered. For John, there's now no other recourse but revenge.

Is It Any Good?

Few films in this genre are known for their intricate, layered dialogue or depth of feeling, and this doesn't exactly break these conventions. But there's no denying the artistry that went into making John Wick . The frames are well-crafted, the pace quick and effortless, the fight scenes choreographed like a ballet. It looks fantastic. And although it's an action thriller, it has a streak of humor that confidently runs through it, making it even more entertaining. Reeves' impermeable face and economic acting work well in this context because he plays a mystery man who remains mysterious throughout. And the rest of the cast -- especially Willem Dafoe and Michael Nyqvist -- is great, too.

But there's no doubt that John Wick is deeply violent. It starts out quiet, and the first attack comes as a shock, which works well for the story. But after a while, all the fights begin to numb; though they're beautifully filmed, they lose their potency, since they come fast and furious without much room to breathe or process what's happening. And parents will want to know that the fighting is so ferocious that it borders on barbarous, making the movie best left for mature teens and adults.

Talk to Your Kids About ...

Families can talk about why John Wick gets back in the "business." Are his reasons, in this messed-up world, at all reasonable? Is he a sympathetic character, despite his line of work? Why or why not?

John Wick is a violent movie. Does it glamorize the violence? If so, how? Does all the violence serve the story, or does it go too far?

John is strongly motivated by revenge. Is that understandable? Is revenge ever an acceptable excuse for violence?

John Wick relies on the Hollywood cliche of using a dead woman as a plot device for a man's backstory. Have you noticed this in other action films? Is this fair to women characters? What are more creative ways to include female characters in genre films?

Movie Details

• In theaters : October 24, 2014
• On DVD or streaming : February 3, 2015
• Cast : Keanu Reeves , Adrianne Palicki , Bridget Moynahan , Michael Nyqvist
• Director : David Leitch
• Inclusion Information : Asian actors, Polynesian/Pacific Islander actors, Female actors
• Studio : Summit Entertainment
• Genre : Action/Adventure
• Run time : 101 minutes
• MPAA rating : R
• MPAA explanation : strong and bloody violence throughout, language and brief drug use
• Last updated : May 19, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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Film Review: ‘John Wick’

Back in action-hero mode, Keanu Reeves joins forces with his 'Matrix' stunt double to deliver a slick and satisfying revenge thriller.

By Peter Debruge

Peter Debruge

Chief Film Critic

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There are no good guys in “ John Wick ,” but there are some great actors working alongside Keanu Reeves in his darkest and most tormented role yet: a stunningly lethal contract killer who goes on a rampage after a Russian thug murders his dog. Yes, his dog. If you can stomach the setup, then the rest is pure revenge-movie gold, as Reeves reminds what a compelling action star he can be, while the guy who served as his stunt double in “The Matrix” makes a remarkably satisfying directorial debut, delivering a clean, efficient and incredibly assured thriller with serious breakout potential, thanks in part to Summit’s simultaneous Imax release.

That unsung hero is Chad Stahelski, the stunt guru who stepped into Brandon Lee’s shoes on “The Crow” and spent the next two decades absorbing all the behind-the-scenes filming lessons that make “John Wick” such a technically impeccable actioner. (Stahelski and longtime stunt collaborator David Leitch approached the project as a team, but only Stahelski ultimately received directing credit from the DGA, while Leitch is credited as a producer.) Whereas the tendency among many other helmers is to jostle the camera and cut frenetically in the misguided belief that visual confusion generates excitement, the duo understand what a thrill well-choreographed action can be when we’re actually able to make out what’s happening.

And that’s why Reeves serves as just the right star to play Wick, a short-fuse antihero whose ridiculous moniker (borrowed from screenwriter Derek Kolstad’s grandfather) clumsily conveys his explosive temper. There’s nothing clumsy about the actor who plays Wick, however, as Reeves’ lithe physicality enables extended sequences in which he moves athletically through an environment full of adversaries, shooting, stabbing or otherwise immobilizing them one at a time.

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Since brutally efficient action sequences are in such short supply these days, the fact that “John Wick” delivers no fewer than half a dozen — home invasion, hotel room, Red Circle club, church parking lot, Brooklyn safehouse, grand finale — more than excuses Kolstad’s lame-brained script. Basically, the idea is to mislead audiences into believing that Reeves’ character is a mild-mannered family man, compressing the preceding few months of personal tragedy into a montage in which Wick visits his wife (Bridget Moynahan) in hospital, attends her rain-drenched funeral (where former colleague Marcus, played by Willem Dafoe, makes an ominous appearance), and weeps upon receiving her final gift: a pre-trained puppy named Daisy.

This intro doesn’t exactly position Wick as someone Russian mobsters would refer to as “the Boogey Man,” but of course, everyone in the theater already knows what’s coming. Far from fooling anyone, this mopey opening merely provides an awkward bit of melodrama to get past before the carnage can commence — which it does soon enough, when “Game of Thrones” goon Alfie Allen, playing the bratty son of a Russian crime boss, improbably shows up at a rural gas station and offers to buy Wick’s prized 1969 Boss Mustang. When Wick declines, the punk and his friends decide to break into his house and help themselves, beating Wick with baseball bats, smashing his things, snapping the poor dog’s neck and taking the Mustang on their way out.

While killing a dog hardly seems enough to justify the meticulously orchestrated mayhem that follows, we should at least be grateful the pic doesn’t impose some greater emotional trauma upfront (like forcing us to witness his wife’s rape or murder, a la “Death Wish”). The script waits until this moment, when Iosef takes the stolen Mustang to the shop to have its plates changed, before revealing Wick’s reputation. The fence (a tough-looking John Leguizamo) nervously refuses to help, notifying Iosef’s relatively civilized mobster dad, Viggo Tarasov (Michael Nyqvist, looking suave and collected in the face of certain death), that his son has awakened a monster.

One almost feels sorry for Stahelski, who’s been given such a soggy pulp screenplay to work with, and yet it’s during these B-movie scenes that we start to feel what he can bring to the table. In terms of material, “John Wick” is nothing special, but there’s a suave elegance to the way Stahelski and Leitch approach this thoroughly generic project, seizing the opportunity to deliver some pretty spectacular setpieces along the way.

The result, photographed in sleek, steady-hand widescreen by Vilmos Zsigmond protege Jonathan Sela, looks more like recent Nicolas Winding Refn pics than relatively sloppy studio fare (right down to its cool, neon-lit shootouts), relying on a mix of heavy metal and electronic music from the likes of Marilyn Manson, Tyler Bates and Kaleida to generate propulsive forward energy. Needless to say, Iosef and his thugs picked the wrong guy to mess with. But their mistake wasn’t stealing Wick’s car and killing his dog. Their mistake was not killing Wick when they had the chance.

As written, everyone seen onscreen is bad to some degree — from the lethal minx (Adrianne Palicki) who accepts a $4 million contract to kill Wick to the corrupt Catholic priest (Munro M. Bonnell) who protects the vault where Viggo stores his valuables — which means every bullet fired potentially stands to make this corrupt underworld a better place. Evidently, evil is relative, and some of these killers are more supportive of Wick than others, including Dafoe’s Marcus, a fellow sharpshooter who intervenes whenever Wick finds himself in a particularly tight spot, and Ian McShane, who plays the manager of the film’s most inspired location: a high-end hotel for assassins where the house rules demand that no killing be done on premises.

Clearly, “John Wick” isn’t set in the real world, but rather in the sort of heightened parallel dimension that gamers use for target practice, where they must constantly be on their guard as goons pop up from behind objects and around corners. That’s effectively how we experience the better part of the movie, tagging along as Wick hunts down Iosef and brings down Viggo’s entire criminal organization in the process. With long greasy hair and wispy facial hair, Reeves isn’t nearly as tough or intimidating as your typical revenge-movie antihero, but his star persona helps to make the film more fun — or at least a lot less bleak — than downbeat classics as “Rolling Thunder” and “Get Carter.” All that violence won’t bring Daisy back, but it helps to clear enough space in Wick’s cold-blooded heart for another dog. Maybe he’s not so bad after all.

Reviewed at Metropolitan Filmexport, Paris, Oct. 14, 2014. (In Fantastic Fest.) MPAA Rating: R. Running time: 101 MIN.

• Production: A Summit Entertainment release presented with Thunder Road Pictures, in association with 87Eleven Prods., Defynite Films. Produced by Basil Iwanyk, David Leitch, Eva Longoria. Executive producers, Peter Lawson, Mike Upton, Kevin Frakes, Raj Singh, Sam X. Eyde, Tara Moross, Darren Blumenthal, Joseph Vincenti, Erica Lee.
• Crew: Directed by Chad Stahelski. Screenplay, Derek Kolstad. Camera (color, widescreen), Jonathan Sela; editor, Elisabeth Ronalds; music, Tyler Bates, Joel J. Richard; music supervisor, John Houlihan; production designer, Dan Leigh; art director, CJ Simpson; set decorator, Susan Bode Tyson; costume designer, Luca Mosca; sound (Dolby Digital), Danny Michael; supervising sound editor, Mark Stoeckinger; re-recording mixers, Jim Bolt, Martyn Zub; visual effects supervisor, Jake Braver; visual effects, Spin VFX; fight coordinator, Jonathan Eusebio; assistant director, John R. Saunders; stunt coordinator/second unit director, Darrin Prescott; casting, Suzanne Smith Crowley, Jessica Kelly.
• With: Keanu Reeves, Michael Nyqvist, Alfie Allen, Willem Dafoe, Dean Winters, Adrianne Palicki, Omer Barnea, Toby Leonard Moore, Daniel Bernhardt, Bridget Moynahan, John Leguizamo, Ian McShane, Bridget Regan, Lance Reddick, Munro M. Bonnell, Clarke Peters. (English, Russian dialogue)

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John Wick (2014)

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In Theaters

• October 24, 2014
• Keanu Reeves as John Wick; Michael Nyqvist as Viggo Tarasov; Alfie Allen as Iosef Tarasov; Willem Dafoe as Marcus; Adrianne Palicki as Ms. Perkins

Home Release Date

• February 3, 2015
• David Leitch, Chad Stahelski

Distributor

• Summit Entertainment

Movie Review

When John Wick accepted the little dog that was delivered to his front door, he was still pretty numb. His wife’s funeral was just hours behind him, her death from a ravaging disease still bitter in his mouth.

One look at the card that came with the carrier, though, helped wake John up a bit. It was from Helen. Leave it to her to be thinking of him, even at the end of her own life. She knew he’d need something to love when she was gone. “Her name is Daisy,” the card read. And John almost smiled.

Over the next few days, Helen’s wisdom was proved out. Daisy was a cute little bundle of paws and fur that John came to rely on. She helped him find … focus, courage, purpose. The pain was still there, but he had started to breathe again.

Thereafter, John and Daisy went everywhere together. When he walked, she was at his side. When he ate, she shared the meal. When he drove, she was in the passenger seat. And so, she was there when John gassed up his classic Boss 429 Mustang. She was woofing when the punk son of a Russian mobster offered to buy the car outright. And she was licking John’s hand when he turned the guy down cold and drove away.

Of course, Daisy was also there when the punk and his boys broke into John’s house later that night. And she barked anxiously when those intruders caught John by surprise and beat him senseless. And after the heartless thugs turned and put a bullet in her, Daisy dragged her bleeding body to lie near her wounded master. That’s where she died.

When John came to, his car was gone and his dog was dead. The car was a sad loss. The dog was a vicious gut-punch—a devastating blow that ripped something important right out of him.

John buried Daisy, gathered his supplies and then took a call from one Viggo Tarasov—the Russian boss who had just discovered that his son had paid John a nasty visit. It was only fair for John to listen to Viggo, his former employer, before making it clear that he was coming for the boy.

John Wick, you see, is a man with a past. Not so long ago he was an incredibly skilled contract killer, feared by many. He had put it all behind him after finding love. But now John has nothing left to love and a dog to avenge.

Positive Elements

A montage of quick scenes seems to demonstrate that John’s life had been changed—at least temporarily—by his love for his wife. And a fellow hit man named Marcus puts his life on the line—and ultimately loses it—for his friend.

Spiritual Elements

John has a large cross and a set of praying hands tattooed on his back—though there’s no evidence they hold spiritual meaning for the man. One of Viggo’s illicit money vaults is kept in the basement of a Catholic church. In fact, it appears that the entire church is nothing but a front: John walks in the front door and immediately shoots the “priest” and several Russian “parishioners.”

Viggo says he believes that God caused Helen’s death in order to create a clash between he and John. “We are cursed, you and I,” he tells John. On the other hand, while at Helen’s funeral, Marcus tells John, “There’s no rhyme or reason to this life.”

Sexual Content

A singer in a club wears a tight one-piece bodysuit, and several other women wear cleavage-baring tops. A busty bartender leans over to give John and the camera an easy view. A number of bikini girls in and around a club’s indoor pool cuddle with the male patrons. The camera closely ogles one girl’s mostly exposed backside as she walks into the water.

Violent Content

Getting the sense yet that there’s a lot of revenge-filled death-dealing in this movie? Once John gets going, scores and scores of thickly accented miscreants meet their end in gushes of gore and brain matter.

The very first “crowd of killers vs. John” scene features our antihero tumbling and twirling through his darkened home as he shoots point-blank blasts into faces; breaks arms, legs and necks over hard surfaces; and obliterates his assailants with savage efficiency. We see that same kind of brutality repeated in the church, a club full of booze-swilling partiers, a close-quarters men’s room, an abandoned warehouse, and just about every place else you can imagine mob guys gathering.

Red slime splashes walls and floors as chins are impaled, jugulars are slashed and bullets smash through foreheads. Crotches are kicked, legs are shot, facial bones are smashed and eyeballs are obliterated. One of John’s attackers is a woman, who’s thrown through a window and has her face cruelly pounded after it’s wrapped in a sheet.

One particularly large gash in John’s side—opened by a broken bottle—needs to be stitched up before it’s ripped wide again. John purposely allows himself to be stabbed in order to wrest away a blade from an attacker. That gaping wound is splashed with hydrogen peroxide and pieced together with a staple gun. John is also tied up and tortured.

When John sets out on his quest for revenge, he first checks into the Continental Hotel—an old hit man “safe ground” of his that has strict rules against (and heavy penalties for) any killings conducted on the premises. John follows the rules closely. Another individual, however, accepts a contract on John and sets about attacking John and killing another tenant. That killer ends up reaping the management’s bloody wrath in the form of a late-night firing squad. Viggo punches his foolish son so hard the young man vomits.

Crude or Profane Language

Over 30 f-words and 10 s-words (in English and subtitled Russian) are joined by one or two uses each of “a–,” “h—” and “b–ch.” God’s name is combined with “d–n” twice. We hear one or two uses of “c–ks–ker.”

Drug and Alcohol Content

Amid the Russian ranks, it appears it’s very common to drink heavily (champagne and hard liquor) and smoke like a chimney. Viggo, in particular, smokes and drinks frequently. We also see him puff on a joint.

After patching him up, a doctor gives John a bottle of drugs, telling him, “Your stitches will tear, you’ll bleed. But you’ll have full functionality.” So John pops those pills before a big gun battle.

Other Negative Elements

After a gun battle in John’s house, a policeman comes to the front door and asks him if he’s “working again.” John assures him he’s just “sorting out some stuff.” Eyeing a corpse on the floor, the cop says, “I’ll leave you be.”

Daisy’s defecating in John’s front yard is played as a joke.

The moral here is, “You kill a mob man’s dog, you’d best be packing.”

No, scratch that. There are no good lessons here. This hyper-violent pulp-action pic is really nothing more than a lot of moviemaking glitz layered over the well-worn tale of a retired killer who reaches for his guns once again.

This version is set in a fairly well polished noir-like make-believe world. It’s a place where hit men have their own hotels—establishments that come complete with a killer’s code of conduct and terry cloth robes. It’s a place where cleverly choreographed shoot-’em-in-the-eye-while-doing-a-perfect-double-backflip footwork is the be-all and end-all.

Never mind, then, that Film Freak Central says “the film sweats cool.” ‘Cause there’s no cinematic pot of gold at the end of this brain-splattered, seven-shades-of-blood-red rainbow. Sometimes a gory, foul-mouthed, Russian-thug-blasting revenge pic is, well, just a gory, foul-mouthed, Russian-thug-blasting revenge pic.

Though I liked the dog.

After spending more than two decades touring, directing, writing and producing for Christian theater and radio (most recently for Adventures in Odyssey, which he still contributes to), Bob joined the Plugged In staff to help us focus more heavily on video games. He is also one of our primary movie reviewers.

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John Wick: Chapter 4 is unrelenting in every sense of the word

John wick 4 is a supersized all-you-can-eat buffet of the franchise’s signature dishes: bullet-riddled revenge, teeth-chattering action sequences, and gossamer-thin characters..

By Charles Pulliam-Moore , a reporter focusing on film, TV, and pop culture. Before The Verge, he wrote about comic books, labor, race, and more at io9 and Gizmodo for almost five years.

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Lionsgate’s John Wick movies have always been over-the-top action / thriller joyrides more focused on dazzling you with visceral, expertly choreographed action sequences than trying to tell the most coherent stories about stylish assassins . Director Chad Stahelski’s John Wick: Chapter 4 is no exception. And it abundantly delivers on the franchise’s hallmarks — snazzy guns, lovable dogs, and one very haggard man in black — by picking up right where 2019’s John Wick: Chapter 3 — Parabellum left off.

Were this just any old chapter in the John Wick saga, it’d be fair to call the newest film slightly above average compared to its predecessors — and a testament to how far the franchise has come. But John Wick: Chapter 4 wants to be as monumental and seminal as it is bombastic — aspirations that the feature doesn’t quite manage to achieve despite giving it its best shot.

After three films of simply wanting to be left the hell alone, then wanting revenge, wanting to be left alone some more, and then being forced to go on the run, dog-loving widower and super-assassin John Wick (Keanu Reeves) is tired but still very intent on making sure that the High Table gets what’s coming to it for trying to kill him. John Wick: Chapter 4 presumes Parabellum is still fresh in your mind as it immediately drops you right back into Wick’s jet-setting life of journeying to far-off places and popping off as many shots as it takes until his various targets are chock full of bullet wounds and quite dead.

With Wick still running around the world and demolishing virtually every single person who crosses his path, the High Table’s powers that be have every reason to be scared that he’ll find them and put them in the ground. That fear is what pushes the shadowy organization to start making the bold changes that set John Wick: Chapter 4 ’s story in motion.

Though John Wick’s just a man, Chapter 4 leans into the idea of him being the man (in black) — an assassin so clad in plot armor that he simply can’t be killed by conventional means or by following the ancient rules that made the High Table into the thriving operation that it is.

The Marquis Vincent de Gramont (Bill Skarsgård) isn’t just another trained killer gunner for Wick’s head. He’s a high-ranking High Table member who speaks for the entire organization when he lets Wick’s longtime allies Winston Scott (Ian McShane) and Charon (Lance Reddick) know that their ties to him will bring nothing but ruin into their lives. But John Wick: Chapter 4 also frames the Marquis as the High Table’s destructive arbiter of change — an embodiment of the future clashing with the past — and the existential fear he elicits in his fellow killers is one of the more interesting elements of the film.

The Marquis also gives Wick a singular convenient target to focus on as he works toward making the High Table pay for what it’s done to him and giving him back his freedom. But between Wick and the Marquis are hundreds, if not thousands, of trained killers, like blind swordsman Caine (Donnie Yen) dead set on collecting the ever-increasing bounty looming over the excommunicado-ed man’s head.

When Chapter 4 ’s purely focused on detailing how Wick methodically mows down his pursuers, you can feel just how in their elements stuntman-turned-director Stahelski and Reeves are. But in its many moments where the movie’s either building up to or cooling down from its big set pieces, there’s both a wobbliness and a narrative thinness that ends up highlighting how overlong and somewhat repetitive Chapter 4 ultimately feels.

While Chapter 4 does eventually pit Wick against the Marquis, it’s only after the former goes on a globe-trekking journey to get all the right tools and make the right alliances to be able to challenge the High Table head-on. Wick’s quest takes him to a Japanese branch of the Continental run by series newcomers Koji Shimazu (Hiroyuki Sanada) and his daughter Akira (Rina Sawayama) — neither of whom know what to make of the mysterious Mr. Nobody (Shamier Anderson), a notebook-toting tracker who travels with a German shepherd.

Because Chapter 4 ’s really about contemplating the future, and because the movie couldn’t just be about Wick taking on the world, all of the new faces are welcome additions. Both Sawayama and Anderson are captivating as two of the movie’s most distinct, personality-forward fighters who — because of their charisma and solid acting choices — stand out in sprawling fight sequences overstuffed with large groups of stunt performers brawling. But John Wick: Chapter 4 spends so much of its 169-minute runtime focused on Wick doing things we’ve seen him do a few times over at this point that few of the movie’s characters end up feeling like real people.

The John Wick movies are about action first, character second, and plot maybe fourth, after tailored suits, but there is so little depth to a lot of the Shay Hatten and Michael Finch script that even John Wick himself sometimes comes across as if he isn’t sure why he’s fighting or how he feels about it. As with the previous John Wick movies, Chapter 4 ’s prolonged fight scenes are kinetic, brutally beautiful odes to the art of stunt work, and each feels crafted with diehard fans of the franchise in mind. But the film’s approach to fan service — letting less action-filled scenes run more than a bit too long and making sure that almost every one of its background fistfights gets ample screen time — has the effect of making John Wick: Chapter 4 feel needlessly drawn out.

The ability of the John Wick movies to make you feel the blows as you watch Wick take and dole out beatings is one of the more impressive things about them, and it’s something Chapter 4 ’s able to do well to a point. But the movie is so chock full of battles that feel like they were stuffed into the movie to make it bigger that they start to mean less as the story unfolds and the body count rises.

The movie’s length also has an interesting way of emphasizing just how little John Wick actually says, which has a curious way of making him seem a bit checked out and disengaged from the people around him, who all speak almost exclusively in grim aphorisms. But Reeves’ aloof deadpan does work as a counterbalance to Chapter 4 ’s forays into goofy physical comedy. Some of them work, like a scene involving Wick fighting his way up a flight of stairs and then falling back down it. But others, like Wick’s fight with an obese High Table head from Germany named Killa (portrayed by Scott Adkins in a fat suit), do not — and come across as cringe at best, mean-spirited at worst.

John Wick: Chapter 4 isn’t a movie you casually sit down to watch apropos of nothing. It’s a commitment, both in terms of how long it is and in how invested you really have to be in the idea of John Wick for the film to be engaging. To its credit, John Wick: Chapter 4 does an admirable job of leaving open possibilities for a future filled with stories of some of the movie’s new supporting characters. It comes as a pleasant surprise given how much time this story spends trying to remind you that Wick is the baddest man in town.

John Wick: Chapter 4 also stars Laurence Fishburne, Clancy Brown, Natalia Tena, Marko Zaror, Bridget Moynahan, and George Georgiou. The movie hits theaters on March 24th.

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‘John Wick: Chapter 4’: Longer, bloodier and better than ever

The fourth installment in the martial arts action franchise ups the ante, with stunning set pieces of fight choreography

Is “John Wick: Chapter 4” the best John Wick movie in the franchise, as early reviews suggest ?

Quite possibly. But what does that even mean? Readers who have never seen Keanu Reeves as John Wick, who don’t even like violent action movies — especially not ones about an elite assassin in a fantastical hierarchy of three-piece-suited assassins that is run like an efficient corporation, on the run from his co-workers, and with a multimillion-dollar bounty on his head — won’t understand why the film deserves the star rating I’ve given it. They might even assume that it is great (and it is pretty great) by the same metric that “ The Quiet Girl ” is great.

That would be a mistake. Apples, as they say, must be not be compared to oranges, and certainly not blood oranges, which is perhaps the better analogy for this tart, tangy and juicily sanguineous offering. But fans of the films will understand. They will even accept — nay, demand — the repetition of the series’s formulaic plots, which involve both flight and pursuit.

Triggered by the killing of the titular professional hit man’s dog and the theft of his car, the first “ John Wick ” was essentially a revenge thriller centering on John, or Mr. Wick as he is just as commonly known, and a Russian crime lord (Michael Nyqvist). John’s pursuit of Viggo Tarasov is slightly counterbalanced by the antihero’s efforts to avoid being killed.

Over time, the mix of fight and flight has shifted, with John fully becoming the quarry by the end of “ John Wick: Chapter 2 ,” in the wake of his killing of a Neapolitan Mafioso (Riccardo Scamarcio). As “ John Wick: Chapter 3 — Parabellum ” gets underway, John is being hounded by a lethal Adjudicator (Asia Kate Dillon), along with nearly every hired gun in the world, having been declared “excommunicado,” or excommunicated, for the murder of Santino D’Antonio on the “sanctified” grounds of a New York City hotel catering exclusively to killers. (Come to think of it, the society to which John belongs — and under whose arcane rules he operates — is more like a religion than a company.)

The point is, these plots are all the same, or at least very similar: John wants someone dead, and someone — or a lot of someones — wants him dead in return. In “Chapter 4,” the main someone is the effete Marquis de Gramont (Bill Skarsgard), the French representative to the High Table, the governing body of the international crime syndicate for which John works. At nearly three hours long, it’s the most John Wick-ian of all the John Wick films, by virtue of the simple fact that there is more time to lavish on the films’ fans exactly what they want, in spectacular fashion.

And boy, is it spectacular. Would that all action films were so well and cleanly choreographed. (Are you listening, Marvel and DC?) To be sure, the Wick films are not for everyone. But returning director Chad Stahelski, a former stuntman and stunt coordinator, knows one thing: If you’re going to do something, do it right.

Stahelski ups the ante from the previous three films with one amazing set piece after another — a chase scene set in the desert, on horseback; a bloodbath in a discothèque decorated with waterfalls; visits to Osaka and Berlin — each sequence outdoing the one before. The most talked-about fight scenes will surely be two staged in Paris: the first taking place in the traffic roundabout encircling the Arc de Triomphe, known as the Étoile, or star, for its 12 radiating avenues; the second taking place on the 222 steps of the Rue Foyatier leading up to the Sacré-Coeur cathedral, where a climactic duel takes place at dawn between John and the Marquis.

Also in attendance: two secondary antagonists, a killer known only as the Tracker (Shamier Anderson) and a blind assassin named Caine, beautifully brought to life by Chinese martial arts legend Donnie Yen. ( According to Yen , the actor requested a change to the character’s stereotypically Asian name — originally “Shang or Chang,” he says, in the screenplay by Michael Finch, Shay Hatten and Derek Kolstad. Intentionally or not, his character now suggests an homage to David Carradine’s Kwai Chang Caine from the 1970s TV series “Kung Fu.”)

Clearly, Stahelski is a fan of martial arts lore and its elaborate — one might even say perverse — codes of chivalry, ethics and honor among rogues. (The call letters of a radio station in the film are, notably, WUXIA .) He is not alone. If you are also an acolyte in the church of chopsocky, samurai swordplay and gunslinging gangsters, you could do a lot worse than “John Wick: Chapter 4.” In fact, you’d be hard-pressed to do better.

Why not four stars? Because I want to save room for improvement, in case there’s a “Chapter 5.”

R. At area theaters. Contains pervasive strong violence and some coarse language. 169 minutes.

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TAGGED AS: Action , movies

John Wick Movies Ranked by Tomatometer

Crisp, clear camera work where you can see the stunts, punches, and gunfights? Sweet cars and exotic locales? Impossibly cool one-liners? Yeah, we’re thinking action movies are back. Since John Wick ‘s 2014 high-concept debut (don’t get between an ex-assassin and his dead wife-gifted puppy), Keanu Reeves and his creative team (including former Matrix stunt guys turned directors, Chad Stahelski and David Leitch) have booted the shaky cam and manic edits that have plagued American action movies to the curb, reviving old-school muscular filmmaking with modern polish. That includes an amusingly absurd amount of worldbuilding populated with colorful characters, featuring the likes of Lance Reddick, Ian McShane, Laurence Fishburne and much more. With Chapter 4 releasing (see the first reviews ), we’re ranking the John Wick movies by Tomatometer! — Alex Vo

John Wick: Chapter 4 (2023) 94%

John Wick: Chapter 3 -- Parabellum (2019) 89%

John Wick: Chapter 2 (2017) 89%

John Wick (2014) 86%

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Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors, john wick: chapter two.

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Have you ever walked out of a film so struck by awe and wonder your skin is abuzz? Has a film ever left you so joyful and drunk on adrenaline that it made you more hopeful about the world? Has a lead performance in an action film ever had such balletic grace it made you marvel at the possibilities of the human body itself? This is exactly how I felt watching “John Wick: Chapter Two,” the sequel to the surprising 2014 action hit.

“John Wick: Chapter Two” is a more audacious film, bolder and more violent than its predecessor. It’s also surprisingly hilarious, wringing humor from physical pratfalls and dry wit in unexpected moments. In many ways, it’s the platonic ideal of an action film: operatic yet colored with fine-tuned details, blisteringly visceral yet tinged with pathos. For all its great craft, the movie is ultimately a showcase for Keanu Reeves , who returns as the titular assassin, proving his greatness as an actor and action star. Yes, that’s right, I said greatness. No qualifiers necessary. “John Wick: Chapter Two” is truly wondrous, but it wouldn’t work without Reeves, who has a sincere love of this genre.

Wick is not good at retiring. It’s easy to believe, as commented on by others in the film, that he’s addicted to the vengeance he dishes out with such panache. After all, what else does he have to live for? The sequel picks up shortly after the end of the first film; Wick is still reeling from the death of his wife, Helen ( Bridget Moynahan ), failing to adjust to a new life even with his adorable, unnamed pitbull steadfastly by his side. (For those wondering, the dog remains safe.) He has little time to relax when he finds Santino D’Antonio ( Riccardo Scamarcio ) on his doorstep, asking him to make good on the blood oath he made years prior that allowed him to retire from his deadly profession. At first, Wick balks. One devastating house explosion later, he sees no other choice. But accepting Santino’s offer does not bring Wick the peace he desires so intensely. Soon, he finds himself facing threats from all sides, including Santino’s mute enforcer Ares ( Ruby Rose ) and Cassian (Common), a bodyguard of the woman Wick is forced to kill.

“John Wick: Chapter Two” is never as singularly focused as its stellar opening, which is pretty much the best Batman sequence that never was. Wick has already avenged his dog and now wants to recover the car stolen in the previous film. This gives us a fun Peter Stormare cameo as Abram Tarasov, the brother of the Russian gangster Wick killed the last time around. The opening juxtaposes Wick fluidly moving in and out of shadow killing all manner of men who stand in his path. All the while, Abram listens to the ricocheting bullets and belabored screams of his henchmen growing almost cartoonishly overwrought with dread. The scene works by leaning into Wick’s mythic nature even more heavily than the first film and establishes the sequel’s excellent comedic stylings.

After the opening, the film wastes no time plunging us deeper into the mythology of Wick’s labyrinthine world of assassins, blood oaths and arcane rules. The budding franchise has some of the best world-building currently in film, besting comic properties and reboots that have decades of material from which to draw. There are many delectable details introduced like an old-fashioned steno pool of tattooed darlings that handle the release of hits and other nasty work needing to be done. Some of the most fun moments are just watching Wick prepare. He’s a man of extremely refined taste, whether he’s getting a new suit tailored or conversing with The Sommelier ( Peter Serafinowicz ) about weaponry with the metaphors of fine dining. Cinema was created so Keanu Reeves could wear a fine black suit and slice through people with the same grace as Fred Astaire . But in expanding Wick’s world the film often lacks the sharp focus that made the original so entrancing. But even though it isn’t a perfect sequel, the imperfections are charming, lending the story the ability to venture down fun avenues.

“John Wick: Chapter Two” is a character actor’s paradise. It’s so obvious that returning cast members and new faces are having fun that you can’t help but smile: Ian McShane returns to make a meal out of every scene he’s in as Winston, the owner of New York City’s Continental hotel; Lance Reddick and John Leguizamo are also a pleasure, giving completely different energy to the film; Ruby Rose might just have a great career soon as an action star. With not a single line of dialogue, she has a commanding presence, proving me wrong about her skills demonstrated in a previous season of “Orange is the New Black.” Common proves to also be a great foil for Reeves, nailing the silent but deadly assassin mode with panache. Franco Nero ’s brief appearance as the manager of the Continental hotel in Rome is especially great. Come on. It’s Franco Nero talking to John Wick. What else could you ask for?

But it’s Laurence Fishburne as the Bowery King that may just be my favorite addition to this fascinating world. “ The Matrix ” co-stars understandably have great rapport. They riff off each other in the way only actors with deeply shared history can. Fishburne’s presence is commanding, with a tinge of eccentricity. His booming laughter happens to be one of the most powerful aspects of the film’s impressive arsenal. At one point, his laugh acts as a transition between scenes going longer than expected in response to Wick’s questionable request. He only appears briefly but he makes quite an impact.

Of course, the reason to truly cherish “John Wick: Chapter Two” is the action. Director Chad Stahelski and cinematographer Dan Laustsen make every frame a sumptuous visual feast. They take advantage of the outsized world they’ve created, forming a color palette unique to the action film landscape that gives “John Wick: Chapter Two” a painterly quality. They also know how good-looking and physically expressive their leading man is. Often Reeves is the only thing on-screen, his face and body cast in shades of turquoise, jade, and neon pink.

There is an artistry and detail to even minor scenes of characters trading barbs that express the sheer mythic and grand nature of the story. The sound design highlighting the crunch of bones, splatter of blood, and the various repercussions of these increasingly intense battles is also quite artful. Fight scenes are never over-edited, opting for continuous wide shots, making it evident how much Reeves trained. The violence is never one-note, running the gamut from darkly humorous to oddly poetic. And it is always very, very bloody. This film is far more brutal than the first. Assassins are sliced at the groin, stabbed in the thigh, and shot in all manner of body parts with the camera never flinching, forcing us to bear witness. Bonus: we get to see Wick’s pencil trick. It’s even more gruesome than I imagined.

But the action isn’t just intense and gorgeously crafted. In “John Wick: Chapter Two” physicality is identity. Screenwriter Derek Kolstad smartly doesn’t over-explain the history between characters—the way they fight speaks for them. When Ares gets her showdown with Wick, she’s scrappy and unhinged, like a starved lioness released onto an unsuspecting public. Cassian is more openly brutal and forceful. He’s more simplistic than Wick in his fighting choices but nearly as deadly. Their fight scenes often begin with long pauses and intense stares before giving way to outright mayhem. Then, of course, there is Reeves. No action star quite understands how physicality can communicate story like he does. His dialogue may be spare. But his body tells an entire story all its own, even in subdued moments. A glare or half-hearted smile communicates more history than many actors do with a monologue. Where Ares is energetic and Cassius is brutal, Reeves makes Wick elegant in his violence.

Interestingly, Wick often does a sort of flip, locking an opponent between his legs. It’s a move that is typically the domain of female action stars, reminding me of Black Widow’s signature move in films like “Captain America: Winter Soldier.” This demonstrates how Reeves uniquely blends typically feminine and masculine traits with aplomb. During the film’s most memorable fight scenes, Reeves seems like he’s creating dance crafted with punches and gun-fu. He effectively marries the cool grace of Fred Astaire with the sex appeal of Gene Kelly . No modern action star is so brutal and beautiful an equal measure.

But Reeves goes beyond being a talented physical performer in action scenes. The film highlights the thematic preoccupation that snakes through his entire career: loneliness. Reeves has always been best when playing men isolated due to equal parts choice and pathology. Wick’s struggle to find peace and his place in the world is surprisingly moving. Here is a man without any home in the world—emotional or tangible. Amid the high body count and clever design, “John Wick: Chapter Two” is a moving portrait of how loneliness warps the best of us. It ends with room for a third chapter, which I am definitely hoping for, since “John Wick: Chapter Two” demonstrates what film as an art form is all about: it awes and delights, challenges and provokes. It also proves that Keanu Reeves is the greatest modern action star and film is better for his return.

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Roger ebert, film credits.

John Wick: Chapter Two (2017)

Rated R for strong violence throughout, some language and brief nudity.

Keanu Reeves as John Wick

Bridget Moynahan as Helen Wick

Ruby Rose as Ares

Ian McShane as Winston

Laurence Fishburne as The Bowler King

John Leguizamo as Aurelio

Lance Reddick as Charon

Thomas Sadoski as Jimmy

• Chad Stahelski

Writer (based on characters created by)

• Derek Kolstad

Cinematographer

• Dan Laustsen
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John Wick Is a Popular Franchise, but Can the Spinoffs Succeed Without Keanu Reeves?

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• John Wick spinoffs may be pushing the franchise's limits, with concerns about timing and quality of new projects.
• The Continental spinoff received mixed reviews, leading to skepticism about the viability of future spinoffs without John Wick.
• Ballerina, the next spinoff, aims to improve on past mistakes, but there are doubts about maintaining the franchise's momentum.

Starting out as an independent action movie, the John Wick series has become a major franchise. Seeing four movies grace the big screen, the series is now expanding with spinoffs in both movie and TV show form. Unfortunately, this might be testing the limits of the brand a bit too much.

Given how John Wick: Chapter 4 ended, it's questionable whether now is the right time for such spinoffs. Conversely, the quality of the first of these new projects left a lot to be desired, and there's the risk of the series watering itself down in the quest for content. This leaves a lot riding on The Ballerina , which is currently the next such project from the world of John Wick .

More John Wick Spinoffs are On the Way

World war ii thriller from john wick producers casts peaky blinders and obi-wan kenobi stars.

The John Wick producers are currently working on a period thriller.

The first John Wick spinoff was 2023's The Continental , a TV series which explored the early days of characters such as Winston and Charon. The show premiered on the streaming service Peacock, giving fans more of a taste of the series' world in the same year that saw the release of John Wick: Chapter 4 . The property has become one of the biggest R-rated action movie franchises in modern cinema, and the spinoffs attest to this. Of course, The Continental isn't the extent of these spinoff projects, with several more on the way.

John Wick Presents: Ballerina has been in the works for a while, with the movie spinning out from the events of John Wick: Chapter 3 - Parabellum . Portrayed by Ana de Armas, the title character is a ballerina who trains to get revenge after the murder of her family. Though she'll be the protagonist, franchise characters such as Winston, Charon and John Wick himself will appear in smaller roles, along with Anjelica Huston's The Director from Parabellum . It's also been announced that Donnie Yen's character, Caine, from John Wick: Chapter 4 will also be getting a solo movie .

These are just some of the projects that have been confirmed, with other movies such as a crossover with Atomic Blonde also being considered. Likewise, an animated movie and similarly experimental John Wick projects have also been discussed, with shows such as The Continental only the beginning of what may be a much wider shared universe. Unfortunately, given how these spinoffs started off, it might be best to pump the breaks on them for now.

The John Wick Spinoffs May Not Be off to a Great Start

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A new John Wick Pinball Machine from Stern comes with an AI-controlled opponent to challenge players in exciting new ways.

The Continental: From the World of John Wick came out in the same year as the fourth John Wick movie, but reception has been middling at best. The TV show was noticeably panned by fans and critics, with the biggest sin it committed was that the action was particularly lacking. Given the talent involved with the series, not to mention the pedigree of the franchise as a whole, it was definitely a step-down from expectations. Some saw it as merely "padding" to give the Peacock streaming service more content, with the result being the watering down of an otherwise beloved movie brand.

Previously, actor Ian McShane -- who portrays Winston Scott in the series -- spoke out with concerning yet comforting news about Ballerina . The movie's reshoots are actually "new shoots," with Chad Stahelski (who directed the first four movies) brought in to supposedly make the movie better. According to McShane, "they've got to protect the franchise," and this statement was followed by his noting a lack of this care in the production of The Continental . While this suggests that Ballerina will have improved quality in its finalized form, it also speaks to the movie previously being in a bad state before Stahelski came on board . Given this and the reception to The Continental , the fear over these spinoffs being unnatural extensions of the franchise still loom.

Will There Be a John Wick: Chapter 5?

David leitch reveals the most important shot ever in the john wick franchise.

John Wick co-director David Leitch shares what he believes was an essential shot for the hard-hitting action franchise.

Another upcoming movie in the series is John Wick: Chapter 5, which is still being pre-produced and doesn't have a release date. Franchise star Keanu Reeves is set to return, though the nature of his role is still highly questionable. The ending of John Wick: Chapter 4 saw the character seemingly killed off in a duel against the Marquis of the High Table , with Winston and the Bowery King paying their respects at his grave. It's highly likely that this death was a ruse, however, especially since the movie's original ending was supposedly much more ambiguous concerning his fate. Once again, however, this begs the question whether the series truly needs more installments.

While concerns of "superhero fatigue" in movies based on comic books has become a common cinematic issue, a similar query exists for other enduring franchises. While the John Wick series has only four movies so far, the last film ended with what many might have felt was a satisfying conclusion. Any further entries might be seen as inorganic extensions, especially since even Ian McShane called The Continental a " cash grab ." There may still be enough fuel in the car for one final John Wick movie , but the viability of spinoffs that don't star the character are still highly suspect .

The Best Time for John Wick Spinoffs Has Passed

10 best action movies since john wick.

John Wick set the standard for action films when it was released in 2014, but since then, there have been worthy contenders to its crown.

Given how John Wick: Chapter 4 ended and the exciting cliffhanger ending of its predecessor, the time to produce spinoffs in the series and test its boundaries may have already passed. Given the hype from Parabellum 's conclusion and the way in which the movie expanded the series' universe, this was the time to experiment with spinoffs such as The Continental . Likewise, Ballerina was a shoo-in for this release schedule, as it's based on events shown in the third film. If those projects had been successful, it would have shown that there was life for the series beyond John Wick himself. Now, this concept is highly up in the air, especially with how the TV series was received.

The good news beyond the seeming protective nature over Ballerina is that the Caine character from John Wick: Chapter 4 was well received. Giving him a spinoff movie might be seen by some as inorganic, but if done with more careful planning, most fans will likely embrace it. Hopefully, the spinoff and Ballerina are good enough on their own and good enough to maintain goodwill for the brand, as another project on the level of The Continental would certainly be disastrous. Anything less than adequate may very well detract from the hype and anticipation for John Wick: Chapter 5 , which already has a lot of skepticism towards it. Hopefully, the busy studio Lionsgate makes all of the upcoming entries in the series up to par through focus, commitment and sheer will.

John Wick Presents: Ballerina is set to release in theaters on June 6, 2025.

Dive into the world of a retired hitman pulled back into the brutal underworld he left behind, igniting a relentless crusade for revenge.

“They thought they can kill me”: Keanu Reeves’ John Wick Returns in This Fanmade Chapter 5 Trailer and Even That is Enough to Hype Fans For His Next Movie

A fter the stupendous success of the John Wick films, there is no doubt that Keanu Reeves and Chad Stahelski are a match made in heaven. The actor-director duo notched up their 4th hit in the franchise in 2023 with John Wick 4 receiving rave reviews from audiences and critics worldwide. The films also reaffirmed Reeves’ place as one of Hollywood’s biggest action stars.

While Stahelski has hinted to fans that a 5th installment could be underway based on how the story evolved for him, it looks like fans are not waiting around for this confirmed announcement. A well-edited fanmade trailer of John Wick 5 sees Reeves back in his swashbuckling avatar that is sure to add even more hype to his possible return.

This Fan Trailer Of Keanu Reeves In John Wick 5 Is Going Viral

The John Wick franchise created by Chad Stahelski and starring Keanu Reeves in the titular role, has gained cult status in Hollywood. With 4 blockbuster installments that have redefined the aesthetic of action thrillers, the actor-director duo have been the toast of the town for quite sometime now.

Following the huge success of the 4th film, audiences across the world were already manifesting their desire to see the two collaborators back in a 5th installment. In October 2023 in an interview with Inverse , Stahelski teased fans and got their hopes up by hinting that this could be a definite possibility if certain conditions were met.

I have notebooks and notebooks of s*it behind me, John Wicks 5, 6, 7, 8, 9. We have ideas for days. We just don’t have the story locked. I have no interest in doing the cash grab of bringing John Wick back for something.

“I really enjoyed that scene”: Hiroyuki Sanada’s Favorite Scene With Keanu Reeves in John Wick 4 Didn’t Involve a Single Gun or Katana

But it looks like fans have taken matters into their own hands for the time being by imagining what John Wick 5 could look like. A slick fanmade trailer that is gaining hype online, has expertly stitched different scenes from Reeves’ movies including Constantine to predict a possible storyline for the film. The trailer commences with the actor saying,

They thought they can kill me.

In addition, the clips also show veteran Oscar winner Robert De Niro in various cuts from his films which indicate that he could be the main nemesis for Reeves’ assassin. While there is no official confirmation yet from the Stahelski camp about the future of a 5th film, this trailer could galvanize fans even more and add further excitement regarding what The Matrix actor would do next.

John Wick Director Made Keanu Reeves Learn New Action Techniques

The John Wick films starring Keanu Reeves and directed by Chad Stahelski have gained cult status for the thrilling action as well as their lead star’s presence and charisma on screen. Stahelski who is a former stuntman himself, is known to be a tough taskmaster when it comes to filming hardcore action sequences.

In John Wick, the director wanted the fight scenes to be choreographed a little differently. Since Reeves had put in a lot of martial arts training for The Matrix trilogy, the filmmaker was of the opinion that he must push the Speed actor to try something different with regard to the action in this film (via Collider ).

Upcoming Unreal Engine 5 Game is The Matrix Mixed with John Wick, and We Can’t Wait

Along with stunt coordinator David Leitch, Stahelski incorporated new techniques of martial arts namely gun fu which was meant to be a blend of gunplay and kung fu to ensure that the action scenes in John Wick would stand out for their unique quality. Despite putting his body through the wringer and sustaining injuries, Reeves’ determination ensured that these fight segments were truly memorable.

John Wick 4 can be rented on Apple TV.

Untitled 'John Wick' Caine Spin-Off Film

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Jessica alba's new netflix movie can rival an 89% rt hit for 2024's best john wick replacement.

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30 Best Movies Like John Wick

I've been a harry potter fan for 24 years, but rereading is completely different now that i'm a mom, 10 most rewatchable russell crowe movies, ranked.

• Trigger Warning has the potential to be the top action movie of 2024, rivaling Monkey Man with gritty action sequences and a vengeful plot.
• Jessica Alba's character, a special forces commando, is set to bring intense combat scenes reminiscent of the John Wick franchise.
• While Alba's film may face tough competition and high expectations, it still aims to fill the void left by the absence of new John Wick content.

Jessica Alba's new Netflix film looks like it could be the perfect rival for an 89% Rotten Tomatoes hit in the quest to become 2024's John Wick replacement. The actress' upcoming movie, Trigger Warning , has a great chance of becoming this year's John Wick alternative , but the film already has some stiff competition. With the Ballerina spinoff officially being delayed until June 2025 , the John Wick franchise now has no content releasing in 2024, opening the door for other films to fill this void. This gives Trigger Warning a great chance at succeeding and becoming 2024's top action movie.

The film will follow Jessica Alba's Parker returning to her hometown and attempting to find the truth about her father's sudden death. Alba's character is a special forces commando, meaning Trigger Warning will contain plenty of action and violence as seen in the trailer. The close-quarter fight sequences and vengeful plot are reminiscent of the John Wick franchise and make Trigger Warning a suitable alternative during the action series' hiatus. However, while Trigger Warning could emerge as one of 2024's best action flicks, it will have to surpass a critically acclaimed smash hit with an incredible Rotten Tomatoes score.

Jessica Alba's Trigger Warning Can Rival Monkey Man As 2024's Best John Wick Replacement

Trigger warning looks like it will match monkey man's gritty action.

While Monkey Man looks to be 2024's best John Wick replacement , Trigger Warning can still rival it. The upcoming Netflix film has a similar plot to the first John Wick film, and if it can get the best out of Alba and her action skills, it has the potential to be a huge hit for the streaming platform. Alba's film looks like it has the same dark and gritty elements that made Monkey Man so successful while offering plenty of entertaining combat sequences in the process. The simplistic premise should also help Trigger Warning avoid being overcomplicated like other action flops.

Trigger Warning will be released on Netflix on June 21, 2024.

Monkey Man is currently leading the charge in terms of replacing John Wick , as it was constantly compared to Keanu Reeves' franchise during the build-up to its release. Alongside its critical success, Monkey Man also made a decent box office profit, confirming that Dev Patel's passion project was a certified hit. This will make it a lot tougher for Trigger Warning to run away as the year's top action movie, but if it can deliver on the trailer's potential and offer the same compelling fight scenes as Monkey Man , it stands a chance at competing.

Why Trigger Warning Is Unlikely To Beat Monkey Man's Rotten Tomatoes Score

Monkey man's stellar reviews make it difficult for any action film to better it in 2024.

With an 89% Tomatometer rating and an 84% audience score, Monkey Man is one of the top-performing action films of 2024 and this gives Trigger Warning a high bar to try and clear.

Even if Trigger Warning manages to receive strong reviews, it is unlikely to beat Monkey Man 's Rotten Tomatoes score. With an 89% Tomatometer rating and an 84% audience score, Monkey Man is one of the top-performing action films of 2024 and this gives Trigger Warning a high bar to try and clear. Monkey Man 's similarities to John Wick definitely helped the film thrive and it is clear that Dev Patel's movie took a lot of inspiration from the franchise. This helped the movie refine its action and tell a compelling story that has led to so much success.

Trigger Warning may still perform well, but it will have to be exceptional to exceed these reviews, and Alba's Rotten Tomatoes track record isn't ideal for the film. There is already pressure on Trigger Warning to redeem Jessica Alba's Killers Anonymous which has a 0% Tomatometer score, and her other action movies haven't performed much better. While this is a slightly worrying sign for Trigger Warning , Alba's newest film looks a lot better than some of her past failures ; however, surpassing Monkey Man 's reviews looks close to impossible, especially when considering Alba's Rotten Tomatoes history.

Trigger Warning & Monkey Man Prove John Wick Is Still Influencing The Action Genre

John wick's signature style seems to have influenced both trigger warning & monkey man.

With Trigger Warning and Monkey Man both having plenty of aspects resembling John Wick , it is clear the action series is still having a massive influence on the genre. John Wick has become the perfect example of what works for modern action movies, and Monkey Man 's performance is proof that the gun-fu format is a winning formula when done right. Although John Wick may not be the most charismatic action hero, his combat skills and honorable motivations make him so exciting to watch, and Monkey Man 's The Kid falls into a similar category, proving John Wick has redefined the genre.

The best movies like John Wick are the ones that–like John Wick the character and John Wick the film–go above and beyond what action fans expect.

Although Trigger Warning is still to debut, its fight sequences and vengeful plot seem to have taken plenty of inspiration from John Wick as well, once again proving that the franchise has become pivotal to modern action films. Other movies like Nobody and Atomic Blonde also adopted the John Wick style of action as it creates a grittier and more realistic plot despite how resilient the protagonists are. Despite John Wick not having any projects in 2024, it is still inspiring this year's action films , and Trigger Warning appears to be the latest movie trying to replicate the franchise's success.

Trigger Warning (2024)

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John Wick: Chapter 2

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Rent John Wick: Chapter 2 on Fandango at Home, Prime Video, or buy it on Fandango at Home, Prime Video.

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John Wick: Chapter 2 does what a sequel should -- which in this case means doubling down on the non-stop, thrillingly choreographed action that made its predecessor so much fun.

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