JOHN WICK: Chapter 4

Jeri Jacquin

Coming to theatres this Friday from director Chad Stahelski, Summit Entertainment and Lionsgate comes the final chapter with JOHN WICK: Chapter 4.

John Wick (Keanu Reeves) has not changed his revenge against the High Table and begins again with The Elder in Morocco. What he doesn’t know is that the High Table has called up on the Marquis Vincent de Gramont (Bill Skarsgard) who believes he knows how to take down Wick and it starts with the New York Continental Hotel and Winston Scott (Ian McShane).

Wick turns to friend Shimazu Koji (Hiroyuki Sanada), the manager of the Osaka Continental Hotel much to the dismay of Koji’s daughter Akira (Rina Sawayama). The Marquis sets his sites on Osaka as his next point of impact but with the help of Caine (Donnie Yen) who has begrudgingly been recruited.

Now on the run again with limited places to go, Winston reminds Wick that he has every right to challenge the Marquis to a duel. The only problem is that Wick must be part of a family and the only place he can find that is in Berlin. He must convince Katia (Natalia Tena) that what he plans is good for everyone.

Helping with the plan is The Bowery King (Laurence Fishburne) who has found an excellent life under the streets of Paris and is thrilled to help his friend Wick. Watching all of this with fascination is Mr. Nobody (Shamier Anderson) who tracks Wick while playing the money game with the Marquis.

As the rules for the dual are set by the Harbinger (Clancy Brown), the die is cast for the final showdown that could earn John Wick what he has been fighting for – freedom!

Reeves as John Wick will always be John Wick and any attempt to remake or carry on the franchise without him would be an outrage. In this film, Wick is in for a two hour and 50-minute fight with time for one suit change only and Reeves makes it look fantastic. There is no reason to go over his performance because this is purely a visual film and Wick isn’t about conversation. This time out, Wick announces from the beginning that he intends to finish what they started and Reeves is taking it seriously in every step he takes.

McShane as Winston has his own axe to grind and I’m sure he wouldn’t mind grinding it in the Marquis! Knowing that he has always been limited in how he can help Wick, this is an opportunity to set his own path straight. I’ve always loved McShane in this role because he brings the cool and calm to a very intense storyline.

Skarsgard as the Marquis is full of himself and has no problem loving the extra fine things in life. Making promises to the table about the destruction of John Wick has made him a little more than full of himself and everyone has taken notice. The Marquis is a smooth talker but Wick is not falling for it and neither did I. That being said, Skarsgard glides through the film without ever raising his voice and looks good doing it.

Yen as Caine comes to understand the pain Wick is fighting for now that he has his own family. Having no choice but to go after Wick, he also goes up against men he calls brothers. Yen is capable of some fantastic stunts and martial arts which is seamless in this film. He has always been on the list of actors I’ve enjoyed and, in this film, he is smooth and aware.

Anderson as Mr. Nobody (are you catching that Mr. Anderson is in the same film as Neo and Morpheus? Just sayin’) clearly knows how to track John Wick but there is something else. He knows the job, he knows the money but to get to see Wick in action and a side no one else has, Mr. Nobody starts to wonder what is the truth behind the man. Anderson’s role is that of a swift and smart man who knows his business and has a dog that I’d like to hang out with.

Fishburne as the King is clever and always has John Wick’s back. Working with Winston becomes so much more enjoyable under the streets of Paris. I am always thrilled to see Fishburne on the screen but as the King, he is a man who sees all and knows how to handle it.

Sanada as Koji understands Wick and tries to find a way to truly help bring this all to a close. As the manager of the Osaka Continental, he is aware that something bigger is no at play. Sanada is such an overlooked actor and this is a shining example of his acting and martial arts skill. Sawayama as Akira knows that anyone around John Wick has a target on them and coming upon him and Caine means that the world as she knows it is over. Her stint was short but listen to what she has to say to Wick in the subway.

Shout out to Brown as the Harbinger keeping character cool, calling it as he sees it and looking stunning in black.

Other cast include George Georgiou as The Elder, Aimee Kwan as Mia, Scott Adkins as Killa, Marko Zaror as Chidi, and Lance Reddick as Charon.

JOHN WICK: Chapter 4 needs no introduction, no explanation and no sum up because this character has been doing it since 2014. We know why it all started, we know we it keeps happening and we know why it comes to taking out anyone that gets in the way of ending it. Reeves has put his stamp on this role that was created by Greg Pak and Giovanni Valletta from the comic book limited series telling the story of Jardani ‘Johnny’ Jovanovich aka John Wick.

The film comes in at two hours and fifty minutes (bathroom first!) and if you think that’s too long then you don’t deserve to see it. John Wick has come a long way in the franchise so, as far as I’m concerned, he can take as long as he damn well pleases to finish what he started. This is a film of constant bombardment of those who are intent on being the one to take out John Wick.

Now, there are a few moments that were a little far fetched but, as a fan of John Wick, I am willing to overlook it. I did giggle at what seemed to be a bit of Walter Hill’s 1979 film THE WARRIORS and I’ll leave that hint right here. I also thought it funny to see Wick in a subway tunnel waiting for a train in a bit of a reminiscent Neo moment. Again, I ain’t mad about it!

The smashing up, car chases, clubs, countries, music, action, martial arts – all of it – fantastic! The audience was cheering, laughing, cheering, pain reacting, fist pumping, and yelling at the screen which made watching the film a total audience experience. Now that is how you go to the movies to see a film like JOHN WICK: Chapter 4.

This is a gather-up-a-gang-of-people film so that popcorn, snacks, soda and experience are shared so leaving the theatre is loud talking about the film. Go to the theatre excited and leave the theatre excited!

In the end – Baba Yaga!

 

Director Donovan Marsh Gives Us the Inside of HUNTER KILLER

Jeri Jacquin

Coming to theatres this Friday from director Donovan Marsh and Summit Entertainment is the intense military thriller HUNTER KILLER.

Gerard Butler is first-time-out submarine Captain Joe Glass and this isn’t a run of the mill outing he is about to go on. There is something happening in Russia that has sunk two submarines and Washington wants answers.

There are four parts to the film that come together as Captain Glass looks for the subs, Navy Seals put boots on the ground, the Russians are playing their own game and Washington looks at the political ramifications if one more thing pushes everyone over the brink.

That’s were good directing comes in and Donovan Marsh was given that task being part of the film industry since 1992. Marsh has put himself on the map with his award winning film SPUD which won at the South African Film and Television Awards. That was followed by the sequel SPUD 2: The Madness Continues. He is also in pre-production for the film VALHALLA and I can’t wait to see it. Writing, editing and producing, along with directing, means Marsh is someone who doesn’t shy away from good film and television making.

I had the chance to speak with Donovan Marsh about HUNTER KILLER. He speaks of keeping the film authentic while enjoying a ride aboard the USS Houston for a bit of research.

Jeri Jacquin: Hello Donovan, thanks for speaking with me today.

Donovan Marsh: Oh no worries at all.

JJ: Congratulations on the film. I’m going to jump right in and ask what was it like to direct four different stories in one film?

DM: Oh you are correct about that and its very difficult to not get distracted with different points of view. It’s a matter of taking these four points of view and finding out if there is a way to cut them while ratcheting up the action. That was a real job during the editing. It was a matter of choosing and knowing where I wanted the audience to be looking without distracting them too much. I think the editor did a fantastic job of that.

JJ: Was it difficult for you to do each of those things? I mean one minute your dealing with the Russians, then off to the politics of Washing etc.?

DM: We divided it into subsections and were very methodical about it. I was able to focus on each of them exclusively for a couple of weeks at a time. We did two weeks in the submarine and a week in “Russia” which actually was Bulgaria and it is carefully scripted. If you have a plan and know what you are doing it becomes all about where do you want the audiences attention to go and who’s point of view has the most tension at the time you are watching.

JJ: You made it look seamless.

DM: Thank you!

JJ: You have such a stellar cast in each section of the story you are telling. Gary Oldman and Common together, what an interesting choice.

DM: Yes, you couldn’t get two more different actors. Gary is an Oscar Winning actor for THE DARKEST HOUR and Common is a musician who brings a warmth, energy and naturalism to his performance. It is interesting to watch their contrast in the war room scenes. It was quite a magical thing and I am happy with the outcome.

JJ: Your Seal team, what a group of amazing guys.

DM: Oh thank you, yes, well we put the four of them through hell. Every day it was running, diving, crashing and jumping. I wanted it to feel like the real deal so we put them through a lot of training and go them really fit. They got the culture of the Special Forces and we wanted to make sure to get that right. I’ve had Special Forces guys look at the film and they’ve said ‘that’s exactly how we are with each other’ with the joking and the time to be focused and serious. I was happy to get that accurate.

JJ: The Russian part of the film, I mean its not that hard to believe it could happen.

DM: Look, what would it take to set off a war between America and Russia? What’s it going to mean to both countries? It’s not going to take much. It could be a submarine under the ice. You look at the press of late and how the Russians are posturing with MIG’s or destroyers, you are not sure what could happen next. So playing the what-if game is the delicious part of the film. I mean what if these kinds of events occurred and what would be the outcome is what makes this film.

JJ: The actors are so good.

DM: I wanted to use Russian actors, except for Michael Nyqvist of course who is Swedish, I wanted them to speak Russian. There is an authenticity to them being Russia and knowing the Russian life that I thought important enough to cast them for the film.

JJ: In the submarine, when I heard Gerard Butler was the commander I thought it was an interesting choice.

DM: I know people are use to him kicking ass on land and this is a totally different environment.

JJ: I heard that you and Gerard spent some time on the USS Houston?

DM: That’s right, we went on board from Pearl Harbor and we actually ran through all the scenes of the film. I asked the captain what actually would happen with this or with that. Show me exactly how you would react if this were to really happen. The Captain was game and the crew was game and it was amazing to see it really play out on a US submarine. It was the most expensive prop I think I will ever use again but it was great to see it play out. We wanted to make sure that we depicted it as accurately as possible.

JJ: What did Gerard think of it?

DM: It was amazing, he dressed up as the captain and the crew referred to him as Command Glass which is the name of his character for the film. They treated him like a real captain and he got to do some commanding. It was great for him to feel like he was in character in some respects for the film.

JJ: When you finally starting filming the submarine scenes, you are in pretty tight quarters and there are a lot of people in those quarters. How did you manage that?

DM: Yes, it is encapsulated definitely. I wanted the set that way, I wanted the actors to feel what it was like so there were four walls, floor and ceiling. I built the set on a hydraulic set called a gimbal and was able to tilt it 15 degrees at any given moment. The set was tilting as it would in a real submarine and it felt like you were in it. I never wanted to film the same scene in the same way twice so I took out sections of the wall, brought a crane in and always tried to find other ways of filming it for drama. That was a real challenge but I’m so glad I did it that way because it gives the true feeling of being in a submarine.

JJ: There is a scene where the sub is diving and the crew leans to keep themselves upright.

DM: Yes, that really happened when I was underway on the Houston. If you don’t lean you’ll fall out. I wanted to depict it in the film and it adds so much to that scene.

JJ: What initially drew you to the project?

DM: I get scripts and I’ve seen scripts in this genre and I find it difficult to get a good script in this genre. There have been submarine dramas and such and I wasn’t sure there would be a plot to tell. I read the script and I thought it was fantastic with the twists and turns and not knowing what was going to happen next. I was drawn to the realism of it and thought it was a really good script. I also couldn’t predict the end! There are a lot of action films were half way through you know how its going to end and this one did something different.

JJ: What do you want audiences to take away from seeing HUNTER KILLER?

DM: That’s an interesting question because I think there are many layers to the film. I think you could walk into a theatre and think it a popcorn film and just enjoy it for the thrills and spills. Also, there is a deeper geo-political commentary about war and how collaboration with the enemy is way more important than fighting the enemy. It’s another part of the reason I took the film was the collaboration between America and Russia. I feel it’s important for geo-politics. Movies talk about collaboration and ‘we are all in this together’ and I hope that comes through in the film. I hope that some people will take that away and not just see it as a thrill ride. I also hope people come away with a greater appreciation for the unsung hero’s of the US Navy submariners. We don’t know a lot about them, it’s not the most glamorous job in the world. I wanted to show what they go through and what it’s like to go to war in this encapsulated steel cylinder where you can’t see what’s happening. Instead, all you have is trusting your instrumentation. I want everyone to appreciate the men and women serving. We played this movie on a Naval Base for 1,300 people and they went bananas for it. After the film was the question and answer portion and wives would say ‘thank you for shedding light on what my husband does’ and a child got up to say ‘thank you for showing me what my mother does because I now have a bigger appreciation for what she does’. That was really moving.

Indeed it is, when a film comes along that gives us all an insight into what it takes to do a job then it becomes even more successful. HUNTER KILLER not only does just that but puts us all in the intensity and action in a what-if scenario. The twist and turns bring another layer of the film into focus making us think that in the midst of crisis – anything is possible.

Marsh has taken this genre of film and given it something for us all to think about. From the storytelling to the intricate set design, it all lends itself to bringing us all in on the ride.

HUNTER KILLER opens in theatres this Friday so prepare to dive!