As the group of rebels makes their way from the back of the train to the front, they encounter every strata of their society. Built on top of a fairly simple story structure (a man leads a rebellion against the oppressors) is one of the most creative settings we’ve ever seen.
JOHN WICK PENCIL SPOOF MOVIE
Snowpiercer by itself is a movie worth watching. Mixing in such gruesome violence is a great way to communicate the desperation of the officers as they make their way out of the building and we appreciate injecting some intelligence into its inclusion. He shreds his opponents up pretty well and there’s more than one fatal hit thrown in there. The Raid goes right for it, giving Rama a police club and a combat knife, with the latter getting a lot more use. Most kung fu fighting that we’ve seen, while quick and hard hitting, tends to shy away from blood. The other half of the blend is the grisly violence of the fight. Each move flows into the next, even when Rama’s on the receiving end, and it’s a pleasure to watch him work his way down the hallway during his escape. Rama moves from combatant to combatant with practiced skill. The first is the fluidity of the kung fu. Our favorite thing about this fight is how it blends two separate genre tropes. This one goes right under the scene from Oldboy because they’re similar in setting and motivation, though different enough in execution, if you’ll pardon the pun. The soundtrack changes with each location change, as does the lighting, making it one of the most visually and sonically compelling fights we’ve ever seen. Instead of the claustrophobic fights of the Bourne franchise, John Wick fights his way through a more open space, starting in a bath house, moving to the main club floor and padded VIP type section, and ending on a busy city street.
Flashing lights and neon pour out of the screen, bringing the club to vibrant life. The color palette is unlike anything anyone’s experimenting with these days. It opens with some excellent, brutal stealth, but once John’s cover is blown, he switches gears to smooth gunfighting and chews through dozens of guys on his way to Theon Greyjoy.įor us, what really elevates this scene is the setting. The best example of what John Wick has to offer comes during the shootout at the nightclub. It’s a simple revenge story with great action and doesn’t pretend it has something to say.
At no point does it try to pass itself off as art house cinema or over-write the plot. That’s where his screenwriter, Derek Kolstad, comes in.John Wick has a special place in our hearts, mostly because it’s easily one of the most honest movies we’ve ever seen. He has a real genius for action, but not much else. So does the plot from the first film, essentially: Instead of a Russian mobster, John is pitted against an Italian killer (Riccardo Scamarcio), who has once again forced the film’s antihero out of retirement.įranchise director Chad Stahelski is a former movie stuntman and stunt coordinator, who worked with Reeves on “The Matrix” and its sequels. John Leguizamo also returns in a cameo as John’s mechanic. In the first 15 minutes, he gets it back, immediately proceeding to trash it in the process of killing a parade of goons, with the same kind of creativity demonstrated by his flair for the Faber-Castell No. As “Chapter 2” opens, John has a new pup, but his car is still missing. There was something compulsively watchable about the first “Wick,” which had a mesmerizing intensity - at once noirish and cartoonish - despite the superficial monotony of its plot: a supremely single-minded revenge mission by a retired hit man (Reeves) against the Russian mobster (Alfie Allen) who had killed his dog and stolen his beloved 1969 Ford Mustang. Later, the title character, played by a brooding, laconic Keanu Reeves, proves his lethal facility with that same writing implement, in a scene that is sublimely silly, jaw-droppingly brutal and irrationally satisfying. If anything, the legend has probably been “watered down” from reality, as one bad guy ruefully notes. That legend gets repeated in the new, deliciously stylish and hyperviolent sequel to the live-action comic book, “John Wick: Chapter 2” - but with a twist. John Wick, as fans of the eponymous 2014 hit about a ruthlessly efficient assassin already know, once killed three people in a bar, using only a pencil. Digital Replica Edition Home Page Close Menuīy Michael O’Sullivan, The Washington Post
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