Y/N? Yes

Director: Chad Stahelski

Stars: Keanu Reeves, Halle Berry, Laurence Fishburne, Mark Dacascos, Asia Kate Dillon, Lance Reddick, and Ian McShane

Review by Damocles

Its just …. good.

Upon hearing that the next film in the John Wick series was going to be another “chapter”, I was initially hesitant. Somehow I suspected that it would have been a smarter move to have the words “requiem” put in there or “finale.”

Walking out of the cinema, I knew I was right not to have jumped on the hype train that all the other critics and movie-goers hopped on.

John Wick 3 has the troubling issue of having an absolutely riveting 20 minutes opening, with bombastic action sequences following each other almost seamlessly. Horses, cars, guns, blood, books and knives are all thrown around with reckless abandon, and there seems to be almost no limit to the imagination of Stahelski’s vision for martial arts choreography.

However, after those first 20 minutes, the film lacks the panache of the previous installments.

John Wick has always been about stylised action sequences, backed with a charismatic performance from Keanu Reeves, whose internal agony and pain serves as the heart of the film. It is Reeves’ performance of a man with few words, a man of focus, commitment and sheer fucking will, that allows us to forgive the ballet of violence erupting across the silver screen.

However, such heart grows stale by the third repetition and the stakes don’t quite get higher or lower in Parabellum. Which is the core fundamental issue with the film.

Plot-wise, the film does not further nor develop the story and instead takes a back-seat to the action sequences. Parabellum seems less of a narrative, and more of a action film highlight reel.

Which of course sounds like a disservice to the film. But it isn’t, if that is exactly what you are going for. If a film merely has to deliver incredible and stylish action sequences, Parabellum is the cinema experience you crave and need.

Unfortunately for myself, the action film Mad Max: Fury Road (2015) casts a long shadow over the realm of action cinema, with its flawless execution of what an action film actually is …. a simple narrative that is told by via action sequences and characters’ motivations, abilities and development are all relayed during an action sequence.

Parabellum lacks the simplicity and heart of its original in 2014, which to me, remains the pinnacle of the series, because it executes an action film concept properly. Each action sequence, each kill, in the original was inspired by Daisy’s death, and the motivation was clear from the on-set.

In John Wick 3, the plot and pacing is more difficult to ascertain and my disappointment at not having the more logical narrative option of a straight up “survival-thriller finale” for the story soured the film-going experience for me. Which, is why I mentioned the first 20 minutes as being everything I hoped, only for it to be ripped cruelly away for a decision to continue the franchise instead of end it on a proper high-note.

Yet, in spite of this flaw, this slightly sour taste, the film is pop cinema at its finest. Creativity was shown from the onset of the film’s first kill to its very last. Cinematography and lighting and choreography have never quite been more bombastic, less CGI and more skilled than ever before.

In fact, it has gotten to such a level, that the introduction of the infamous Raid duo, Yayan Ruhian and Cecep Arif Rahman, provides another bittersweet note to the film, particularly if you are fan of the Raid films.

That note of course, is that Keanu Reeves simply cannot keep up with such fast and incredibly skilled practitioners of pencak silat. And if one was to compare the speed and ferocity of the hand to hand choreography in the Raid films to John Wick, there is quite a difference.

But then the strongest elements of John Wick has always been the gun-fu. And somehow, Stahelski tops the gun-fu choreography of the previous film, with unique new enemies types for John Wick and even new skills to showcase how competitive shooting provides a new platform for actors to showcase just how quickly a handgun, shotgun and rifle can be fired.

In particular, the standout sequence with Halle Berry and Keanu Reeves and the pair of Belgian Malinois’, is an incredible and unique display of dog training, gun fighting and impressive choreography that has never quite been portrayed so well on-film.

Accompanying these action sequences is a score that improves on the formula of the previous films of utilising electronic synth to punch the action sequences and the iconic slow tension build of John’s theme. In Parabellum, Tyler Bates & Joel J. Richard updates the score to include Vivaldi for a key finale sequence and is easily as iconic Le Castle Vania’s work in the previous films.

In terms of costuming, John Wick remains one of the best films to admire modern men’s fashion and how to blend beautifully made suits with tactical gun-fu. Despite the location change, each location showcases excellent use of the culture on display, whilst retaining the John Wick’s world aesthetics.

John Wick: Chapter 3 – Parabellum is an film that showcases how imaginative and talented stunt work has come since the black and white days of Buster Keaton. Everything on display, is a testimony to how far action cinema as come since then, but such spectacular choreography needs to be in service of a story, and not for the sake of style.

For the sake of the strength of the franchise, I hope the next film is the grand finale that the Baba Yaga deserves.

P.S. For the creative team, please continue the trend of utilising cool Latin phrases in your world.

A scene to recall: When things go green and winter descends at the Continental.

Y/N? Yes

Director: Bong Joon-ho

Stars: Song Kang-ho, Lee Syn-kyun, Cho Yeo-jeong, Choi Woo-shik, Park So-dam

Review by Damocles

Its … so metaphorical.

Parasite, the latest film by Korean auteur Bong Joon-ho (of Snowpiercer, Okja and Mother fame)  is a brilliantly executed thriller.

The pacing of the film’s plot threads and characterisations of its key players is perfect. Not a single frame is wasted, not a single beat missed and the story is beautifully economical with how each character reacts to more and more dire situations.

Joon-ho’s skill at pace is all the more impressive when you consider the juxtaposition of  humour in tense situations. Yet the way how Joon-ho manages to balance both of those elements within a single scene is no doubt one of his trademark abilities.

Not many directors can balance and create such dark comedic moments in a film with such heavy themes. And I would argue none do it better than Bong Joon-ho.

And the themes that run through the film are obvious from the title alone. One does not need to repeat viewings of this film to see the obvious discussion around class, society and status. Yet there are just as nuanced and subtle debate about how Joon-ho chooses the portray the titular “parasitic” family, our protagonists.

We flip-flop between sympathy and reluctant disgust at their actions. The characters, are brilliantly realised and their desperation is portrayed beautifully by an excellent cast.

By far, the best thing about the film, are how each character, minor or major, are logically inhuman and human with their desires and emotional state regardless of the situation. Each action, each decision is perfect for the character and the consequences they suffer are a result of their own folly.

A film like Parasite, dissects the irrationality behind the rational concept of doing a con.

And that juxtaposition alone is what makes the film such compelling watching.

Acknowledgement must be made to the director’s ability to hold tension within a scene, to create frames of art in a drab urban environment (of particular note is the descending staircase sequence), and his ability to create new angles with the camera, despite being confided to 2 locations throughout the entire film.

This film, utilises light and architecture beautifully, whilst never quite sacrificing realism for style. There is style and punch to the camerawork, but it is never a distraction to the characters and the plot, the true linchpins of the film.

A slight weakness in the film’s near-perfect execution is the lack of a memorable soundtrack. Much of it was ambient and large forgettable. I would also level a small critique to costuming, with many characters lacking a distinct flair to their personalities. But such quibbles can easily be explained away by the setting and its realistic approach to Korean slice-of-life.

Korean cinema is at its finest when it explores dark themes and thrusts its likeable characters into dark situations. And here, with a plot that twists, turns and topple your expectations of what to expect next …. Parasite is a cornerstone of Korean cinema that thoroughly deserves its Palme d’Or.

A scene to recall: The flood, the stairs and the transition.

Y/N? Yes

Director: Christopher McQuarrie

Stars: Tom Cruise, Simon Pegg, Rebecca Ferguson, Ving Rhames, Henry Cavill, Michelle Monaghan, Sean Harris and Vanessa Kirby.

Review by Damocles

No … bloody … way!

Mission Impossible Fallout is a classic of the action genre. Quite possibly one of the master-classes of action cinema.

No shaky camera. No ridiculous cutting away from the lead actor. A minimal use of CGI. Action sequences that serve the story and inform the audience about the character’s motivation.

Not since Mad Max Fury Road, has there been a film quite as good, and Mission Impossible Fallout, almost tops it.

Every single action sequence and stunt was an incredible adrenaline rush. There is so much to enjoy and marvel at, that its almost impossible not to relive the sequences in your mind and find adrenaline coursing through your veins.

However, in the hands of a lesser director, Tom Cruise’s stunt-work would have been massacred on screen, but McQuarrie utilises the camera skilfully and beautifully, with deft cinematography that perfectly serves the action sequences and a creative freedom that can only come from having a star doing incredibly insane stunt-work.

At 56 years old, Tom Cruise is almost relentless in his ability to amaze and thrill the audience. Whether it’s performing a live and proper HALO (High Altitude Low Opening) jump that only Special Forces unit in the military would perform, or just that glorious montage of him running across the rooftops of London, few can say that his commitment to stunt-work and sheer energy isn’t impressive.

The supporting cast, all do an excellent job of making the world a believable and fun escape. Rebecca Ferguson reprises her role from Rogue Nation as Ilsa Faust, and is as dependable as ever, the female counterpart of Ethan Hunt. Ving Rhames and Simon Pegg have their moment to shine, with Rhames being used more and better in this film, than he has been previously.

However, the standout character was Henry Cavill’s Walker. The now famous “bicep reload” is in off itself an important element to the character and perfectly establishes what he is capable of.

The plot continues the story of Rogue Nation, with Ethan Hunt and his team tasked with finding the remnants of the Syndicate, who have relabelled themselves as the Apostles, under the leadership of John Lark, and prevent a nuclear holocaust.

Pacing is almost airtight. It uses situational humour to deliver a breather between the action, and unlike many films, the third act is just as solid as the previous two. This, in of itself is noteworthy due to how often action films have a very flagging last act.

The cinematography perfectly showcases Europe. In vein of the old Bond moves, where locations served to up the ante of the stakes, amidst the glamour of the Continent, Fallout visits Paris, London, and for an incredible finale, Kashmir.

Each location is almost upended in the chaos that Ethan Hunt leaves behind, in particular Paris being an incredible standout of action cinema, with multiple chase sequences in a myriad of vehicles that leave you gasping at the screen.

Simply because Tom Cruise is that close to death in every single one of them, and you simply must admire the work of a man who is so committed to entertainment, that he is willing to die for it.

To aid with these sequences, Lorne Balfe created a pulsing score that echoes the work of Junkie XL in Mad Max Fury Road. Fast paced beats, roaring overtures that creates a cacophony of noise that behoves you to both realise the stakes and the speed of which everything has escalated.

Mission Impossible Fallout is film-making at the very peak what Hollywood action cinema can deliver. It takes all the lessons learned from master-classes of Mad Max Fury Road and John Wick and delivers insanity on screen.

Let’s hope that the lessons learned from the success of this film, mean an even greater standard be reached for future blockbusters and adventure films.

A scene to recall: The helicopter stunt when he falls … that literally had me gasping and goosebumps erupted like a rash across my body. Also that magnificent transition from film to IMAX lens was amazing. 

Image courtesy of The Atlantic.