JOHN WICK CHAPTER 2

US, 2017, 122 minutes, Colour.
Keanu Reeves, Ian Mc Shane, Franco Nero, Lawrence Fishburne, Ricardo Scamarcio. Common, Ruby Rose, Lance Reddick.
Directed by Chad Stahelski.

John Wick was an extraordinary success with audiences in 2014, fans of the violent genre and stories of hitmen, appreciating the toughness of the story and its treatment, Keanu Reeves as a tough, silent, even stoic martial arts expert confronting the criminal elements of the city. So much so that a sequel was strongly anticipated. And the fans have been pleased with this Chapter 2.

The genre fans have been very appreciative of how well this new chapter works, Reeves still his familiar self, but involved in a wider range of hits as well as being challenged in his life as to whether he can give up his violent ways and become a new person. Probably not likely!

This is the kind of film that those who are not fans of the genre, who find a lot of physical violence hard to take, who are repelled by an enormous body count, would be well advised to give it a miss – they might even think that the action, the hard attitudes as well as the myriad deaths border on the ridiculous.

The film opens with John Wick trying to get his wrecked car back from the dealers. And they are more than dealers, involved in drugs – talking of Wick and his reputation, sitting in apprehensive silence as they hear the mayhem going on in the garage below. And, not to be outdone, there are wild car chases.

The main thing is that an Italian mafioso type, played by Ricardo Scamarcio, gives Wick a marker because he has done him a favour in the past. Wick is now to go to Rome to kill the gangster’s sister so that he will have a seat on the board controlling crime. Wick is unwilling but submits to the advice of Winston, Ian Mc Shane of the previous film, and goes to Rome where he finds a variation on La Dolce Vita, finds the sister in fashionable ruins where she slits her wrists and Wick shoots her.

At which stage, it would seem to be hundreds of criminal footsoldiers pursuing Wick through the ruins, most seeming willing to run instantly into the line of fire with deathly results. Another hitman, played by Common, is determined to destroy Wick but, after a fight, they land in the bar of another mafioso type – a cameo turned by Franco Nero.

Then it’s back to New York but word has gone out electronically that Wick is to be killed with a huge bounty on him. It seems as though everybody New York City is eyeing him and pursuing him, especially, with a deadly confrontation on the New York subway.

Then it gets even more exotic, a visit to a local gangster, a cameo by Laurence Fishburne, and then a confrontation with the mafioso boss, all taking place in an enormous art installation, with plenty of mirrors and reflections and dangers.

However, Wick breaks the code and kills his marker – which makes him excommunicado amongst the gangsters and hitmen and hit women, electronic messages going out in abundance as an even more enormous bounty on him as he walks the streets of New York – surely into Chapter 3.

1. The popularity of the first film? The character, a hitman, the criminal world, and violence? The loner? The possibility of change?

2. New York City locations, the city itself, the buildings, streets, cars and chases? The hotel and interiors? Rome, the affluent life, the ruins? The return to New York City, the subway, the stations, the art exhibition, installations? The musical score?

3. The violence genre? The fans and acclaim? Too much for ordinary viewers? The plot, the revenge, the body count, a touch of the ridiculous?

4. Keanu Reeves as John Wick? Stolidly silent but violent in action, quick, physical, movement, alertness, timing? Reputation?

5. His desire to retire, to change? His violent nature? The possibility for reformation?

6. The Russian chief, the cars, the drug deals, the chief and his underling, the reputation of John? Listening to the smashing, the killings? The confrontation, the agreement for peace?

7. Winston, the hotel, the roof, his control, the market for D’Antonio? John compelled to do the killing?

8. Ricardo, Italian, gangster, nephew connections, sinister, his ambitions, a seat at the table, to get rid of his sister? The marker, the blood, saying that John was indebted to him?

9. The pressure on John, going to Rome, the Roman life, affluence, contacts, the party, Ricardo’s sister, going to the bath, and wanting control, her slitting her wrists, his shooting?

10. Julius, his power, rules, the buyer the drinks?

11. The chase and the rooms, the guards, the multiple deaths?

12. At, as a hitman, his role, the pursuit of John, the confrontation, the vicious fight, in the bar, having to make temporary peace?

13. John’s return to New York, the issue of the market, the contract on him, the details of the mail outs, the women at the exchange, the variety of people in New York, possible assessments, the attempts on John’s life, the deaths? Common and the pursuit of the subway, on the train, on the station, John Whitney?

14. The contact in the underground, the vagrant of the street, being taken to Fishburne, the discussion, the memories, John having helped Fishburne, the argument, the agreement?

15. John going to the hotel, the confrontation with Ricardo, the discussions, shooting? Winston and his reaction? Excommunicado?

16. The presence of Charon at the hotel, minding the dog, his ominous presence?

17. The new contract going out, millions, the range of killers receiving the message – and John Wick walking away and his prospects for Chapter 3?