John Wick: Chapter 2

Had the best scene been at the end and not in the first half, John Wick 2 would have been the best action movie ever, at least for me (to this day, that title belongs to Face/Off). The set design, editing and camerawork capturing all of the events in Rome are the pinnacle of the genre, overshadowing the best of John Woo. The visual elegance of the original film universe and its dark and gritty tone. The disarming cadence of luxuriously edited and properly brutal action. Dignity and detailed portrayals of all characters. Fatal, neo-noir Keanu Reeves, who seems impossible to dislike, both as an actor and as a person. This movie was a perfect fit for me; I enjoyed every sequence of shots, whereas in other action thrillers, I barely get to enjoy the climax. A rare treat I will be watching on repeat. (22/03/2017)

Poetry in motion. John Wick is a delightfully straightforward action movie that is constantly surprising and incredibly stylish with every shot. It is a film of movement that should theoretically satisfy fans of Buster Keaton, Akira Kurosawa, Sergio Leone, John Woo and video games. The comic-bookishly exaggerated world with a taciturn western hero (who, however, is skilled at expressing himself with a pen) makes more sense than in the first film thanks to the elaboration of the mythology, but a halting rhythm is the price paid for the second instalment’s longer runtime. The wheels come off the film for a moment after Laurence Fishburne, the king of New York vagabonds, appears (too late) on the scene (I believe he will be better utilised in the sequel) and just needlessly burns minutes towards the end (the return “home”). Though the first John Wick wasn’t so long that it would start repeating itself, and I will watch it again with greater enthusiasm, but from now on I will be happy to use the second instalment of John Wick, alongside Sherlock Jr., as a prime example of the fact that action doesn’t have to be created only through editing, but also through movement in thoughtfully composed shots. Who would have said a few years ago that the most respect-worthy action hero of the 21st century, whom you believe has a love for a nameless dog, distinctive taste in clothes, an understanding of intelligent modern art (you never know when a properly adjusted mirror might save your life) and the ability to shoot up the entire Camorra without batting an eye, would be Keanu Reeves in his fifties? 80% (23/02/2017)

An escalating copy of the non-functional first one, in which most of the participants make fools of themselves and the local reviews make a fool out of me. For me, a  bunch of slick head shots do not make for an unforgettable action flick, and if it weren't for the unusual initial destruction of the car, the only scene where Wick maintains the position of an honest worker, I would rate it even lower. Derek Kolstad has made too many foolish decisions this time, cramming bits of Kingsman into the mythology and having the main characters recite ridiculously trivial life mottos. The peak of all the confusion comes with Laurence Fishburne, whose performance and the entire subplot make a bold leap into the toilet. The rescue comes at the very end, which finally justifies the long-standing lack of compromise, but an open ending is a risk that is just begging for a proper punch in the face in the event a sequel is never made. (07/06/2017)

What is the second Raid movie compared to the first movie, is the first chapter of John Wick compared to the first one, let´s put it this way, creators learned from their own mistakes. We have not had the opportunity to watch something like this in Czech cinemas for a long time, something with such a clear, diverse (the monotony of action of the first movie is long gone) and above all an imaginative composition, aesthetics and choreography of true contact action scenes. And if, in addition, the "obligatory plot frame as a makeweight" is not really a make weight, then what more to ask for an uncompromising straightforward action from the old school? Perhaps just an imaginary icing on the cake in the form of graduating of the memorable final shootout in the gallery also of the equally memorable one-on-one duel, third round of "Wick vs. Cassian" would call for it. (23/02/2017)

The first one was fine, but Stahelski was too much of a stuntman and some elementary elements were missing. The sequel is better, masculine, palpably raw and hard, at the same time filmed for a relative pittance and yet stylish, like a TV commercial for a new model of Mercedes-Benz. The scenes in Italy or in the glass maze speak for themselves. It also works as a full-fledged action film whose mythology is a level up from the first installment, the plot is more layered and the shootouts even juicier, and the action itself is an element that is brought to perfection. Rarely will you see such combos, so much shooting, and most importantly, such incredibly clear, and manly powerfully filmed fight scenes, many of them without editing or camera movement. So it's clear that Keanu Reeves worked his ass off, but more importantly, he's living it and loving it. The cast is almost unquestionably evenly distributed, with great cameos by Franco Nero, Peter Stormare and Laurence Fishburn, and a brilliant Common in the role of a tough bodyguard. In general, the fights between Reeves and Common are some of the best ever filmed, only The Raid can compete. If it continues to build up like this, we have a lot to look forward to in the third chapter. (26/02/2017)