Everyone in Assassin Land is aware he’s “the ghost,” “the boogeyman,” the unstoppable killing machine who chainsaws through henchmen like they were tissue paper. (The visual of the subtitles sublimating into the background like smoke consistently contributes more to the film’s tone than whatever the characters are actually saying.) Niko TaverniseBy this point, though, the mythmaking around John Wick is wearing thin. Chapter 2 spends a fair bit of time in that world, but it has virtually nothing new to say about it.
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But the first film’s best reveals are all related to that magnificently appointed secret assassins’ underground, full of luxury hotels where the guests are all murderers, the sommelier is an arms dealer, and every service is paid for in gold coins. John Wick: Chapter 2 lets John retire from assassin life again, then drags him unwillingly back in, which means more kinetic, whirling fight scenes, more shudder-inducing improvised weapons, and especially more people getting shot in the face at point-blank range. It’s hard to follow up on the surprises that made the first film such a hitBut the problem with a surprise hit is that it’s hard to follow up on the surprises that made it work in the first place. The dark cinematography, the screaming soundtrack, the bone-crunching fight choreography, and especially the secret underground assassin economy are all played for maximum cool-quotient impact, making John Wick the kind of film that picks up viewers on word of mouth, and creating the kind of world that viewers want to revisit as soon as possible.
Conceptually, the first John Wick is a standard revenge drama, mostly exceptional because the raging protagonist is avenging a puppy instead of his family, and because every aspect of the filmmaking is as slick as the copious dollops of hair gel John Wick uses to slightly disguise his mullet.
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