5 Ways John Wick Triggers Exhilaration


The Guns:
John Wick is a rat-tat-tat action roller coaster; director detours from the clichéd explosion monster helicopter chase sequences and beams the cinematic effort through multi-verse of gun barrels. From Heckler & Koch P30L, Glock 7, 9, 26, Walther P99 to Colt Python, Kel-Tec KSG, Coharie Arms CA-415 and DTA Stealth Recon Scout or FN SCAR-H, the film’s got truckloads of firearms. Pistols, snipers, rifles, double barrels, you name it, Baba Yaga has deployed them all (predominantly as headshots).

The Fight Choreography:
When the lean and mean Keanu Reeves hogs the screen, audiences expect some suave fight moves, which generally is a punch of tactical king fu and old-school Hollywood knuckle knockers. Despite moderate success romance comedies such as Something’s Gotta Give and Parenthood, his box office forte lies in sleek combat sequences which he renders effortlessly, and its replete in John Wick. He wards off the belligerent opponents in styles which take the swaying moves of Steven Seagal with the lightning strikes of Bruce Lee. With excellent camerawork and sound, Baba Yaga (Wick) bores through the walls of the Russian Mafioso to reach the lynchpin Viggo.

The Cinematography
The sentence to describe the cinematography is spectacular without getting over the top. This is where the Wick series surpasses other mega-budget movies. The director succeeds in creating a rich atmospheric detail wherein even the air contains a certain texture, without resorting to tacky special effects or blowing stuff up. The combo of Chad Stahelski and cinematographer Jonathan Sella conjured up a mesmeric New York, especially during the night sequences, with an exquisite blend of spherical and anamorphic lenses, digital and film with excellent editing makes the John Wick series a visual treat.

21st Century New York through Neo-Noir
The seamy side of New York mafia, contract killers and a whole lot of gunshots and car chases in the dark pits of the city (which ironically includes the Continental Hotel), the chop shop of Leguizamo, the harbor, the nightclubs, the little Russia church and of course Baba Yaga’s posh glass house on the waterfront (which isn’t a dark pit though). Guns flaring as Yaga effortlessly eliminate his opponents, are unrealistic but stay firmly loyal to the noir genre. The set design was amazing, as you’ll find a surprising curio in detail in almost every set. Yaga’s get –up needs a special mention, as he continually wears similar attire which only has subtle changes in the black overtones. The music and lighting add up to make this movie a classic neo-noir.

Resurgence of Keanu Reeves
After a spate of average faring at the box –office, the star of Speed and Matrix deserved a thumping box office comeback six years after “The Day the Earth Stood Still”. Keanu’s performance of a grieving assassin out to avenge the tragedies in his life is commendable. In fact, his acting has evolved in the thirty years on screen. He displays a wider range of histrionics, his cold-blooded look with a penchant for justice creates a strong impact, and he pivots the movie, helping the side characters of Michael Nyqvist, Ian McShane, and Willem Dafoe to support the movie all along.

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