Movie Review

Ridiculously violent John Wick: Chapter 4 hits most of the right marks

The world of John Wick sure has changed a lot from its relatively small beginnings in 2014. Back then, Wick (Keanu Reeves) was just a former hitman out for revenge on the people who killed his dog. Now it’s a full-blown franchise with a story that spans continents, necessitating that each subsequent sequel try to out-do the previous film.

John Wick: Chapter 4 is the biggest movie in the series yet, clocking in at just shy of three hours. Stunt coordinator-turned-director Chad Stahelski does his best to fill that massive running time with as much brutality and derring-do as possible. Wick, having long ago run afoul of the powers-that-be that lead the hitman syndicate, The High Table, is still on the lam, with only a few loyal friends willing to help him.

One of the leaders of The High Table, the Marquis (Bill Skarsgård), is on mission to root out Wick once and for all, systemically shutting down versions of The Continental, hotels that serve as safe houses for assassins like Wick. With the Marquis and his henchmen constantly on his tail, Wick has no choice but to do what he does best – take out as many people as he can before they get to him first.

The film, written by Shay Hatten, Michael Finch, and Derek Kolstad, is not quite a non-stop thrill ride, but it’s as close as you can get when you decide to make a film this long. The complexity of the machinations of The High Table makes it almost impossible to keep up with the actual story of the film, but when they get down to the business of fighting, none of that really matters.

There are multiple extended sequences that become an orgy of violence, but the way they’re staged by Stahelski and his team make them eminently engaging. John Wick: Chapter 3 suffered from repetitiveness, and while the same could be said here to a degree, it feels fresher because of the sheer number of combatants and constantly changing scenery.

The fight scenes are magnificently over-the-top, but in this series, that’s to be expected. Where the filmmakers step up this time around is in the cinematography, with bravura shots filling the screen. The camera is almost constantly on the move, swooping in, out, and above the action. One especially memorable sequence even has the camera going above walls to follow the fighting.

While the majority of the story is treated in a deadly serious manner, the filmmakers aren’t afraid to add in some goofy elements. We’ve always had to take Wick’s ability to survive (mostly) unscathed with a huge grain of salt, but this film turns that idea up to 11. At certain points, there’s a kind of a Wile E. Coyote tone to Wick’s escapes, especially a late sequence involving (many) stairs.

There’s not much to the character of John Wick other than his preternatural ability to kill, and Reeves continues to play him perfectly, expressing himself more in gunshots and punches than words. In addition to returning favorites like Ian McShane, Lance Reddick, and Laurence Fishburne, this film sees great supporting turns by Skarsgård, Donnie Yen, and Shamier Anderson.

John Wick: Chapter 4 did not need to be nearly as long as it is, but in this case, the excess is the point. Much of it is ridiculous and ridiculously violent, but it’s also highly entertaining, which is all you can hope for from this type of film.

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John Wick: Chapter 4 opens in theaters on March 24.

Photo by Murray Close/Lionsgate

Keanu Reeves in John Wick: Chapter 4.

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Movie Review

Zendaya and Robert Pattinson face pre-marriage jitters in The Drama

Photo courtesy of A24

Robert Pattinson and Zendaya in The Drama.

Robert Pattinson and Zendaya will be seen together a lot at the movies in 2026, with mega-films like The Odyssey and Dune: Part Three coming out later in the year. But fans can get a much more intimate look at the two stars in a film that offers a unique take on relationship struggles, The Drama.

Emma (Zendaya) and Charlie (Pattinson) are a New York couple who are engaged to be married. After a quick-but-effective montage of their courtship, the story joins them as they are just days away from their wedding. As they get all the details like music, flowers, and food finalized, a visit to the caterer with married friends Rachel (Alana Haim) and Mike (Mamoudou Athie) proves fateful.

A few too many drinks leads to each member of the group deciding to divulge the worst thing they’ve ever done. While each story is slightly shocking, Emma’s takes the cake, so much so that Charlie starts to question their relationship. As they get closer to the wedding date, Charlie finds it increasingly difficult to get beyond Emma’s revelation, with each real or imagined conversation threatening to derail their previously tight bond.

Written and directed by Kristoffer Borgli, the film is provocative, funny, and cringey as it tries to get to the center of human dynamics. Charlie, Rachel, and Mike have starkly different reactions to Emma’s story, and the way those play out over the course of the film provides, well, the drama. The harder Charlie tries to justify Emma’s past, the more his underlying feelings start to eat at him, causing friction not just between him and Emma, but in other parts of his life, as well.

Strangely, especially for a character played by Zendaya, Emma recedes more than expected. Her explanations for her previous actions are timid at best, and she mostly seems to be waiting for Charlie to forgive her instead of questioning why she needs forgiveness. Borgli favors the male side of the equation, and in so doing he doesn’t dig as deep into the root of the issue as he could have.

Still, the downward spiral at the center of the story has a propulsive nature to it, and each successive step proves to be both hard to watch and impossible to turn away from. It also helps that Borgli manages the tone well, keeping interactions between characters relatively light so that the film doesn’t turn into one like Marriage Story.

Pattinson, who gets to use his own British accent for once, put on an interesting performance that is much better than his last two roles in Mickey 17 and Die My Love. He has good chemistry with Zendaya, who manages to shine despite being laden with a role that doesn’t play entirely to her strengths. Haim and Athie do good work in small roles, while Hailey Grace and Hannah Gross make an impact in brief appearances.

The situation in which Emma and Charlie find themselves in The Drama is not one to be wished on anyone, but it’s presented well by Borgli, keeping tensions high for the bulk of the film. Despite the two main characters not given completely equal footing, the story finds a way to get to a satisfactory ending.

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The Drama opens in theaters on April 3.

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