John Wick

I like Keanu Reeves.  He makes fun movies like 47 Ronin, he seems like a decent fellow, and he’s nice to Alex Winter. 

I think that Reeves’ greatest appeal as an older movie star (as opposed to his goofy early-20s persona) is his aura of detached, zen-like cool.  He seems like the embodiment of all those platitudes that show up on Facebook about being centered, and mindful, and in the moment.  Thus, it’s absolutely wonderful when, in the emotional climax of John Wick, he completely loses his cool and releases a howl of pain, rage, and vengefulness that shocks the complacent action-movie fan right out of his seat.

Here’s the setup: John Wick is the kind of unstoppable, nigh-invincible former hit man we’ve come to know and love as fans of the action genre.  Since all such characters must be either about to retire or actually in retirement, we meet him as he grieves for his recently-deceased wife and consoles himself by caring for an adorable puppy.  Then bad men come to steal his car and do mean things to his dog.  Vengeance must be had, so away we go for ninety or so minutes of fast cars, fisticuffs, and shooting people in the face.

There are lots of movies like this, but there are three things that make John Wick special.  First, there’s the aforementioned Mr. Reeves.  He’s perfect for this role, and his background in martial arts serves him well as he navigates the film’s hand-to-hand combat sequences.  Second, there’s the supporting cast, from primary antagonist Michael Nyqvist (of the original Girl with the Dragon Tattoo) to assorted members of John Wick’s stylized underworld including the nearly-always wonderful Willem Dafoe (whom I’m willing to forgive for The Grand Budapest Hotel), The Wire’s Lance Reddick, Deadwood’s Ian McShane, Games of Thrones’ Alfie Allen, and Chef’s John Leguizamo (and really, you must see Chef).  They prove, once again, that there are no small roles.  Each of them is note-perfect, and they add a sense of seriousness to what could be a very silly film.  

The hard work behind the camera really shows, as well.  Seasoned second-unit directors and stuntmen Chad Stahelski and David Leitch know how to set up and frame action so the viewer never loses track of who’s doing what to whom, where, and why.  As photographed by Jonathan Sela and edited by Elisabet Ronalds, John Wick does something almost unheard of: it eschews the jump-cut aesthetic of so much modern action filmmaking, and instead offers us longer takes that showcase the hard work of fight choreographer Jonathan Eusebio, the principle performers, and the stunt doubles who practice and practice and practice to make every fight look real, and visceral, and exciting.

As you can tell, I enjoyed the heck out of this movie.  John Wick is a great time at the movies and the start of what should be a lucrative franchise for Keanu Reeves.  Good for all involved, and good for him.  It couldn’t happen to a nicer guy.

White House Down

Now, here’s a role for Jamie Foxx: President of the United States.  He has presence.  He has dignity.  He can pick up an automatic weapon and spray small-arms fire into the chests of evildoers. 

Unfortunately, White House Down makes him a supporting character.  That’s ok, however, because the lead is the surprisingly versatile Channing Tatum.  Together, the two of them run and gun through a film that’s basically Die Hard in the White House, and they do so with gusto and wit.

In my review of TheAmazing Spider-Man 2, I took that film to task for being nothing more than a formulaic product.  The film’s great failing, however, wasn’t in the fact that it was product: it was that it was poor product.  White House Down is, unabashedly, product.  But it’s good product, with excellent casting, slick effects and editing, and beats that flow one into the next.

Do you like rocket launchers?  White House Down has rocket launchers.  Do you like machine guns?  White House Down has machine guns.  How about genius villains who play Beethoven during their moments of triumph (I told you this was Die Hard in the White House!)?  Spunky kids?  Grizzled veterans who say things like, “I was wrong about you?”  Villains who practically shriek “And I would’ve gotten away with it, too, if it weren’t for you meddling kids?”  Oh, yeah.  White House Down has all of these, and more, but it sells them with such glee that you can’t help but bop right along with it.

All this, and a Jamie Foxx on his game.  What more could you ask for?