It's a cinematic ballet of death.
While the epic of John Wick’s misery induced by the pursuit of revenge continues to move at full speed ahead in the same no-nonsense capacity that it had begun with back in 2014, "Parabellum" manages to up the ante in ways that secure a fairly unique identity for the franchise beyond its homage to John Woo-esque gun-fu shoot em' up action flicks and man on a mission revenge movies.
Reprised by Keanu Reeves, the titular assassin finds himself struggling to stay alive amongst his society of contract killers following his excommunication for killing within the neutral grounds of The Contintental Hotel, overseen by shrewd and wise businessman Winston (Ian McShane) and his faithful concierge, Charon (Lance Reddick).
After a chance meeting with the heads of the film's hit man society, Wick earns a shot at redemption with a target assignment forcing him to question whether or not he truly wants to live as the dehumanized monster and boogieman of his reputation or if it's preferable to simply die and release himself from the pain of his profession, if not for his own slipping peace of mind, than to honor the nobility of his late wife.
Reeves continues to bring his A-game to the role of Wick, assisted by the practical stunt work that he has performed himself to really sell the notion of Wick as a murderous force of nature once the action really gets underway but manages to subtly tell the story of a man who may only be fighting at this point because it's all he really knows.
"John Wick: Chapter 3," like its preceding entries, despite conveying subtle bits of characterization, played out across an overdeveloped but undeniably stylish sandbox of underground criminal societies, is ultimately about its action first and foremost. While the plot remains serviceable only as a means to move from set-piece to set-piece, the set-pieces in question aren't just gloriously crafted but downright artistic.
Between the variety of firearms and melee weaponry on display and the brutality of every landed blow brought to life by camera techniques and sound design that somehow manages to ensure that activity is always occurring yet the surrealness of the action being piled onto the screen is always active and easy to follow, this franchise continues to host some of the best direction of its genre.
Where "Parabellum," manages to transcend its own apparently shallow nature is in the way its choreography almost seems to carry a flow, communicating comedic, intimidating, and tragic senses of emotion in an almost theatrical capacity.
Perhaps I'm looking a bit too deeply into the notion action choreography servicing storytelling in a matter akin to dance for stage musicals or operas but I also don't believe for a second that it's a coincidence that two substantial turning points involving Wick's character and the direction of the narrative involve the framing of substantial scenes of dramatic consequence between the brutal training and practices of disciplined ballerina's in training, gruesomely punishing their bodies to perform in the traditionally beautiful costuming and attire of the art form.
The usual top tier degree of pulse pounding action that the "John Wick" franchise promises is delivered in spades. "Parabellum" is never boring for a second across its 2 hour and 10 minute length but the beauty put into its choreography to achieve an effect of secondary storytelling that goes beyond the dialogue written on the page takes the franchise above and beyond to a whole new level it didn't need to reach for but is all the better for having achieved.
"Chapter 3" is one of those rare sequels that doesn't simply honor its predecessors but actively enhances them while setting the stage for yet another sequel that actually feels wholly earned.
Killing 8 Strangers out of 10
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