Category Archives: 2017

John Wick: Chapter 2 (2017)

When the first John Wick came out the consensus reaction was “Keanu Reeves is in a good movie?”. This time it should be “Keanu Reeves is in a good sequel???”. After killing his way through hordes of gangsters and their security guards to avenge the death of his puppy in the first film, John Wick: Chapter 2 opens with Wick violently taking back his beloved car. He returns home planning on resuming his retirement only to be greeted by a former colleague. An Italian gangster, Silvio D’Antonio (Riccardo Scamarcio), wants a debt repaid. Years ago, in order to complete his final task for retirement, Wick swore a blood oath in exchange for help. Now D’Antonio wants him to kill someone to return the favor. Bound by the laws of their society, Wick has to comply which causes a fallout and leads to a $7 million bounty being placed on his head.

The film is surprisingly slow to begin. The explanation of the plot is somewhat force-fed to the audience and is a blatantly retroactive addition to his story made to fuel the sequel the filmmakers never expected to have the chance to make. Even after the setup is made clear, Wick spends what feels like an inordinate amount of time trying to figure out if he can get out of his oath. The actual running time of this section may not be long, but it certainly felt that way. Fortunately, after he decides to take the job, the film quickly kicks into high gear and never slows down.

A gorgeous movie filled with unique settings and vibrant colors.

John Wick: Chapter 2 may be the best adaptation of the Hitman video game series ever made (let’s ignore the two official adaptations, everyone else has). As John has to take out a target or escape from other criminals trying to do the same to him, the film, like the games, always emphasizes the scale of its settings. John wades through a crowded concert, sneaks through a busy subway station, and even nonchalantly strolls through a building while exchanging fire from suppressed pistols without alerting the regular people around him. Imagine the scale of the club scene from the original carried into almost every encounter. This allows the scenarios to continually feel fresh and keeps the tension high, despite the fact they are on paper very similar. The best comparison is The Raid 2, another sequel to a great action film that uses its increased budget to bolster the scope of its violence.

The frequent scuffles may stretch belief, but they are endlessly entertaining. Wick uses his trademark “gun-fu” as he melees and headshots his way through any opposition. Director Chad Stahelski’s background as a stuntman and stunt coordinator shows as combat is flawlessly executed. Reeves makes for an imposing presence and even the ridiculous body count seems acceptable. Wick’s nickname of the boogeyman is fully earned as his methodical precision trumps his opponents. The best part of Reeves’s performance is not that he is believable during the action, but that he also adds personality to Wick’s fighting. Wick isn’t Arnold Schwarzenegger holding a minigun and happily dishing out bullets. No, he is the master fighter who is weary of his profession. Wick’s desire to escape his trade is palpable as he sighs and wipes his brow after each brawl. John Wick: Chapter 2 is the chaotic, beautifully choreographed violence we’ve all been waiting for. For the sake of action movie fans everywhere, let’s hope he stays out of retirement long enough for a third movie.

4/5 stars.

Split (2017)

The words “M. Night Shyamalan” used to elicit groans or sighs. After releasing often laughably bad films through the late 2000s he returned in 2015 with The Visit, his first movie in a very long time to receive anything close to favorable reviews. While that film wasn’t a complete success and lacked some of his strongest talents because of the found footage shooting style, it did show hope for his future. With Split, Shyamalan has created his true return to form. Leaving a birthday party, three teenage girls, led by Anya Taylor-Joy (The Witch) as Casey, are kidnapped and awaken in a locked room. A stern man (James McAvoy; X-Men: First Class) enters their room and tells them not to worry because they will be taken care of. In other scenes, this same man is seen by his psychiatrist for dissociative identity disorder (DID). He has 23 total personalities, each with their own behavior and, according to his shrink, their own physiology. During their meetings he reveals that there is a 24th personality about to emerge.

The entire film rests on the shoulders of James McAvoy. With so much asked of him and so much of the runtime centered around his performance, a failing on his part would have easily crippled the movie. Fortunately, he is up to the task. Many actors would have relished an opportunity like this to show off their acting abilities, but McAvoy successfully juggles the disparate roles with aplomb. As he switches personalities, his accent, his mannerisms, and his overall presence completely changes. While it could be considered comical to see him dressed as a woman in high heels, McAvoy’s physical stature and commitment make it an unsettling sight. He is able to engender sympathy as he plays the child personality, Hedwig, then moments later fear as Dennis, the personality that kidnapped the girls. His adaptability is praiseworthy.

The dank interiors are the perfect setting for a kidnapping.

Shyamalan’s early films greatly benefited from strong direction and blocking and Split is no different. Camera movements are smooth and the sets are built to instill claustrophobia. Shyamalan hired Mike Gioulakis, the cinematographer of It Follows, to shoot this film and the effect is obvious. There is a noticeable improvement to the lighting and colors from The Visit and it helps establish the atmosphere. That being said, Split does not have the dread of Shyamalan’s best work. He is able to create tension in several scenes but isn’t able to maintain the suspense throughout. This is caused by the other two girls and a problematic backstory for Casey that distract and detract from the desired mood.

Sadly, any review of the director’s work will always need to answer one question: is there a twist? The answer in this case is not really. The film is fairly straightforward in its story and never hints at a hidden subtext. The ending will leave some viewers incredulous, but it is believable within the context of the film. The real surprise of the film comes as a stinger at the very end. It isn’t a twist, but it recontextualizes the narrative in the best way possible and hints at a very exciting path for Shyamalan’s next films. While Split isn’t his best work, it provides a welcome recovery of the director’s trademark style.

4/5 stars.