"A Fourteen Million Dollar Bounty On His Head, And Everyone In The City Wants A Piece Of It? I’d Say The Odds Are About Even..."
Beginning life in 2015 as a self-assured, no holds barred, overly knowing B-movie, John Wick not only felt comfortable in bringing back well executed, genre influenced action to a Westernised audience who had been bored to tears with the same old generic blockbusters, but also a surprising cult hit which reasserted Keanu Reeves as the cinematic hero we all deserve after locating the action appeal labelled upon him during the 1990's which then somewhat vanished come the turn of the twentieth century. Wooing audiences and critics alike with his return in John Wick: Chapter Two, a second installment which expanded both the universe and the loire of Wick's rather unhinged world, the suit wearing dog lover takes centre stage once again in Parabellum, a suitably exhausting and over-the-top maniacal second sequel which picks up in a true Quantum of Solace style fashion by arriving directly after the conclusion of its' predecessor, in which Wick's decision to murder Santino D'Antonio, the antagonist of Chapter Two and a leading member of the sprawling and ethically shady, high table, on the grounds of the Continental Hotel results in him quickly becoming excommunicado from all privileges previously offered alongside a sweet fourteen million dollar bounty being placed on his shaggy-dog haired head, resulting in every hitman from across the globe suddenly hoping to catch the man of little words in their sights in order to claim such an illustrious prize.
Helmed once again by stuntman turned director, Chad Stahelski, Parabellum takes no time whatsoever in laying down its' cards with a screenplay which expects its' audience to already be well up to speed with proceedings involving Reeves' Wick, and whilst there is a slight offering of exposition regarding the position such a character finds himself in, I clocked my watch at just over seven minutes before the film got to the sort of set piece every one heading into a John Wick movie expects from the get-go. Whether it be library books, an assortment of decorative knives or throwing axes, the opening segment of Parabellum turns the carnage and action up to eleven and never really slows down, and even when the movie attempts to expand Wick's ambiguous childhood and background by introducing the likes of Anjelica Huston (The Witches) and Halle Berry (X-Men: Days of Future Past) in supporting roles, the primary goal of the movie is undeniably to exhaust an audience expecting oodles of superbly orchestrated madness, and whilst I thought the likes of The Raid 2 and Mad Max: Fury Road could never be matched in terms of sheer cinematic outlandishness so soon, Stahelski's movie gleefully squeezes into such a pedigree level of action movie. With memorable scene after memorable scene, including one stand out section involving attack dogs which will leave you speechless as you attempt to work out how on earth such impracticalities were captured on film, Parabellum has somehow managed to make a beloved franchise even better and with Reeves seemingly not slowing down anytime soon as he hits his mid fifties, I'm up for as many Wick movies as time can allow.
