“John Wick 3” – The Bullet Dancer or The Jolly Carnage

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“If you want peace – prepare for war!”

According to popular opinion, the public library is the last place where a gangster can meet, but the first ten minutes of “John Wick 3” break this cliche. Brutal, funny and absurd.

He returns triumphantly again on the screen. Having settled accounts with the Russian and Italian gangsters, he is now fallen out of grace, and every respectable professional assassin is obliged to eliminate him. Moreover, an attractive reward is placed on his head. The hunting season is open, but they are hunting Jonathan Wick, the greatest professional assassin ever lived on the planet.
The story evolves into the familiar parallel world in which police, operational officers and public safety services do not exist. There are not many friends here and the rivalries prove to be deadly. Everything is settled internally, according to the rules strictly observed by all under the watchful eye of the High Table, which can also be translated as Supreme Council. And the one who neglects them is severely punished.
With it’s greatly stylized presentation, “John Wick 3” remains faithful to the grotesque comic spirit created by the previous two franchise releases. 54-year-old Keanu Reeves maintains his cult status as a solitary, brilliant and virtuoso killer, dancing between bullets with pistols, swords, rifles and knives. His everyday life is filled by brief and intense meetings with annoying characters that constantly test his inventiveness on the field in which hepresents himself as an unsurpassable expert. A victim of circumstances, he brings his karma of a tragic hero, unable to avoid conflict. In his hands, every object becames a lethal weapon, and in the first episode, John Wick left behind 84 bodies. In the second one, director Chad Stahelski (a stuntman and former double of Keanu Reeves in the “Matrix”) raised the number to 128, and according to unofficial data, the third edition of the adventures of the killer of Russian-Ukrainian origin revolves around 150 bodies, slightly surpassing the record (141) in Shoot ‘Em Up (2007). Among the victims, spectators will distinguish groups of anonymous bikers, psychopaths, Asian kung-fu experts and an appropriate amount of Talibans.

The deprivation of human life and brutal aggression are brought to the near absurd level of joy and carefree entertainment, to such an extent that the viewer may not ask the question “In what kind of world do we live?”

“John Wick 3” effectively paints the portraits of characters from the underworld that carry a strong personality. The film features laconic dialogues and brief encounters with the colorful characters of hotel manager Ian McShane, the assassin Halle Berry (with two German Shepherds, also killers), the Russian mamasha and ballet educator Angelica Houston, the Bowery King Laurence Fishburne and the arms expert Lance Reddick , designed to appeal to viewers with the absurdity of situations and elegance of the play. References to spaghetti westerns and series like “Die Hard” fit logically in the narrative.

The film is an exciting, invigorating, stimulating and cheerful spectacle that engulfs social conventions and tolerance of public opinion. Positive audience ratings and film criticism rewarded the two previous films. There will be no doubt that with his stylish homogeneity such unanimity will follow the third episode of the saga of the widowed asssassin, strongly attached to his dog and his Ford Mustang 1969.

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