Never Stab The Devil In The Back

Rating: 9/10 (4 March 2017)

"Matrix", The Wachowskis' pinnacle work and reforming of the 1990s action films, announced sinuously some of the most superb and appealing minds (and faces) in the nonstop action movies.Two of Neo's stunt doubles, the emblematic main lead played by Reeves, have rebuilt and invigorated a genre which gradually verges on the inadmissible to entertain; they, like The Wachowski, burst in the middle of bullets and blood with touches of black humor, martial arts and choreographed nearly sublime aesthetics in their directional debut "John Wick".Unthinkable was its commercial and critical splendor, which cooperated driving the evident continuation of The Boogeyman's story in order to dilate and delve into Hotel Continental's registered assassin universe.Like any sequel, it runs the risk of withering that eccentric formula which dazzled in the first installment, on the contrary, and miraculously—keeping in mind unpleasant second parts about films of today,— this is much more violent, much darker, much more brutal and a lot better made than the original. Jonathan is back with another dog, other gadgets, and another reason to kill.
Leitch isn't director here, however, thanks to his deafening first movie, has been set to direct "Deadpool 2" and thriller war "Atomic Blonde". His colleague, Stahelski, is the sole director of "Chapter 2", and has signed for "Highlander," a sci-fi film. His years as stuntman were enough to absorb the most magnanimous pieces of knowledge, ideas shining in the hands of Derek Kolstad, an eloquent and congruent screenwriter with the development of his story, which fits together like geometric pieces the star character.
Wick has not concluded the singular self-compensation in the name of his adorable pet, just one item needs to be crossed out in the list of the refrigerator: his car. After "recovering" his costly auto, he determines to absolve himself of that Russian mafia and that hotel which tore his life down once and for all, nevertheless, his first free nap is hampered by recent ghosts. Now, Jonathan must go back to his life as a gun killer to finalize a pact that involuntarily reopened. The problem is that he'll have to do it with an auction for 7 million dollars to his back, meaning each assassin in Rome or New York is behind his steps. A cocktail of bullets, blood, neat beauty and action to its maximum expression.
A cult movie wasn't adequately entertained and conscientiously filmed like this one for a long period, which converts it into the best action feature film in recent months, excelling by far to Tom Cruise's, Liam Neeson's or Jason Sthaman's adventures. Its director understands how to build up the frantic scenes with readable shots, static angles, sketched fights and a gleaming visual status quo accompanied by myriad elements convening a great cinematic banquet, where morbidity, injuries, and amorality don't distort behind the PG-13 rating. He knows the legacy which is in his hands, his mission is to keep it up and as one would expect of any sequel, developing better and bigger things, for example: one substitute pet, a new classic scene and foes as complex as realistic strengthening the plot with subtitles on screen, silent shootings into a jam-packed subway or an emblematic final confrontation in the hall of mirrors; a crystal glassware that diffracts danger with blue and red neon lights.
Reeves, a loathed and idolized actor in equal measure returns strengthened to the role which gave back him contemporary glory: John Wick. This time, the man exhibits solid convictions which justify his vindictive ire; actions are savage and remorseless, nonetheless, aftermath are serious enough to continue stirring up his wrath which has held since his spouse's death. Wick may be a killing machine, but in his emotional level stands out his self- awareness. Rome comes with special guests, who supply empathic and outstanding performances, from a fatal mute lady, portrayed by an always excellent Ruby Rose, to malicious and scowling Santino D'Antonio (Riccardo Scamarcio), from a violent Cassian (Common) to old well-known Laurence Fishburne, into what seems a brief cameo.
Artistic determinations are equal and even more unusual than narrative ones, in a neo-noir story where the politically incorrect decisions are the first happening, emphasizing in capital letters the unexpected twist (shot) inside the Hotel. It's difficult to see such levels of elegance and repugnance combined in an action movie. Among so many compliments and wise choices, the most remarkable is its amazing mise-en-scène, photography, and staging; they're sublime and imposing, stunning and superb, images exceeding their expression limits together with a soundtrack that points to the audience's heart; a blood ceremony grotesque sensibly as to admire the beauty of human nature. From neon colors to Romanesque streets, from car chases in the rain to shootings in underground caves with heavy music, from nudes to stab-wounds; night or day, city or plain, the filmmakers employed all their tools.
"John Wick: Chapter 2" is the correct sequel for first installment's eccentricities; the sequences and twist plot don't let down, by the contrary, duplicate the effective results with daring performances, exquisite scenarios and a cinematography that will leave real film lovers astounded. Ironically, the smallest details are which work against it, however, are harmless but visible. Wick ends with a beautiful open ending, which will culminate in a third and possibly last part of the life of a man seeking redemption, revenge, and peace. A cocktail of radiant narrative, artistic and technical decisions. "Wick" is the film that any twenty-first-century action motion picture would wish to be. An aggressive, hectic and subversive experience.