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When a retired hit man is forced back into action by a brutal Russian mobster, he hunts down his adversaries with the ruthlessness that made him a crime underworld legend. After the sudden death of his beloved wife, John Wick receives one last gift from her, a beagle puppy named Daisy, and a note imploring him not to forget how to love. But John’s mourning is interrupted when his 1969 Boss Mustang catches the eye of sadistic thug Iosef Tarasov who breaks into his house and steals it, beating John unconscious and leaving Daisy dead. Unwittingly, they have just reawakened one of the most brutal assassins the underworld has ever seen. John’s search for his stolen vehicle takes him to a side of New York City that tourists never see, a hyper-real, super-secret criminal community, where John Wick was once the baddest guy of all. (Warner Bros. Home Entertainment)

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Reviews (15)

Lima 

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English It is rare to see such dirty, unkempt action in an A-budget film, where in the heat of battle, opponents are beaten into a freshly stitched wound and eliminated 95% of the time in the surest way, i.e. by headshot, where cars don't explode upon impact and women fight like women (i.e. not through strength, but by subterfuge), so you don't see them punch and kick hard, which they wouldn't be able to do given their physiognomy, as the vast majority of films in Hollywood today do in terms of gender pseudo-balance. What's more, there's a humorous twist on action movie clichés – the assassins have their own hotel with its own rules, and the unquestionable reason for the carnage is a dead dog. I can understand that, if someone touched my hamster, even John Wick with his arsenal would be in trouble. ()

J*A*S*M 

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English A couple of points for the action, zero points for the story. The problem is that it has some scenes that are clearly meant to be funny, together with scenes that are mean to be really serious. Unfortunately, the serious moments are so stupid (Keanu cradling his dead dog to the sounds of sad music) that I couldn’t help but laugh. But that stylish action scene in the club is enough to make me like this film and make me willing to give it an above-average rating of six points out of ten. ()

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Malarkey 

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English A proper and straightforward butcher’s job which does not consider anything at all. It simply just acts. And that acting is pretty decent, which is a nice surprise as nobody would expect Keanu Reeves playing this kind of character. Well, never say never. His John Wick was an incredible performance which made me relax, forget about everything, and simply have fun for 101 minutes. ()

POMO 

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English No action movie is complete without a proper villain, and we haven’t seen a more thoroughbred action movie than John Wick in a decade. Unfortunately, its bad guy is a nice, puppy-dog-eyed thrift store uncle. This incomprehensible casting failure is not helped by the direction, which on the one hand wants the audience to be moved by Wick’s wife dying from cancer or his puppy being mercilessly killed, but also tries to entertain with a detached perspective and cynical jokes. This creates a strange emotional mishmash which, however, is rescued from being B-movie absurdity by its cool dark style, great super-brutal action scenes, Keanu Reeves’ spectacular avenger and a few screenwriting ideas that add some refreshing comic-book elements (a hotel for killers). All of this makes me raise my rating to three and half stars. ()

Marigold 

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English Dog breeders are major assholes, especially when the Russian underworld nicknames them Baba Jaga. The screenplay is a surreal jumble from head to toe, although it does contain some pretty cool ideas (unions for hired killers). As a stunt specialist, Chad Stahelski doesn't worry about any of it and deals with what he has to work with. The dog will break your heart, Keanu looks like a reincarnation of Satan from beginning to end, and the characters are not just flat - they have been run over by a steamroller. Fortunately, the truly infernal pensive dialogues, which come off as a compilation of bad comic speech bubbles, are balanced by a fairly decent portion of foresight and even larger portions of action. Here we can see that Chad knows what he's filming (wonderfully rhythmic threshing in a disco club, where the tempo of the fight is combined with changes on the dance floor), and sometimes he even seems to have a solid command of film language (wordless collage in the exhibition, solidly-timed jokes). Unfortunately, in the dialogues, he loses his way and he absolutely fails in escalating the film (both Russian villains are worthless at their core). Here we have a completely absurd story, presented in the style of a dark fateful spectacle with a sufficient portion of foresight and an insufficient portion of self-censorship. Either you will enjoy it to the fullest as action junkies (this is what Max Payne might have been like), or you will get through it with a mixture of amusement and grimaces. At its core, it's actually a terribly dumb mess. ()

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