“Ballerina”: Hello! I Am Joan Wick! You Killed My Father! Prepare to Die!

Ana de Armas dressed in all black, having a swordfight with an angry man, but they're using big guns as their swords. The background is burning.

What other summer blockbuster offers FLAMING HOT DUELING FLAMETHROWERS! Your move, Minecraft.

Previously on Midlife Crisis Crossover: everybody loves John Wick! Keanu Reeves and director Chad Stahelski turned a peculiar crime drama about one retired assassin’s vendetta against the whelps who killed his dog into a billion-dollar stunt-spectacular franchise. Naturally Lionsgate Films wants more of those sweet Wick-bucks, but they made the mistake of letting the team end John Wick: Chapter 4 on their own terms, in a manner both satisfying and dramatically inevitable, yet counterproductive to sequelizing with any real integrity. That means it’s time for inferior spinoffs with diminishing returns!

Setting aside a mostly forgotten comics miniseries, the first screen-shaped ancillary product off John Wick: The IP Assembly Line was the dreadful Peacock miniseries with the cumbersome title The Continental: From the World of John Wick, a prequel that gave Ian McShane’s dark hotelier Winston Scott an unnecessary secret origin and gave former star Mel Gibson another stop on his post-cancellation comeback tour. For some reason its showrunners thought Wickworld needed the longer, slower, duller streaming-era treatment set in the Blaxploitation days with none of their vibe, wit, or pulse. Having learned a lesson, the studio went back to the drawing board and thought: what if our next cash-in product had a protagonist who could actually fight their own gun battles?

Hence our next would-be successor: Ballerina! At least, that’s what theater marquees call it. Officially it’s From the World of John Wick: Ballerina, a wretched title concocted by some marketing orc who never had to alphabetize a movie shelf. Someone in charge really thinks “From the World of John Wick” is a catchphrase they should never let go. Who knows how many marginally less unsightly titles were discarded — John Wick Presents Ballerina or John Wick’s Gal Pal Ballerina or John Wick! Now That We Have Your Attention, Here’s Ballerina. So, for posterity shorthand, Ballerina it is.

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Yes, There’s a Scene After the “John Wick: Chapter 4” End Credits

Keanu Reeves' John Wick sits outdoors at a shiny table with two rows of glass cards in front of him, and two identical rows in front of the unseen opponent seated across from him. Off to one side, Ian McShane in sunglasses looks sternly at the game. Blurry doves fly by in the background.

Our Hero prepares for an expensive game of Concentration.

Previously on John Wick: the third chapter (the one with the vestigial subtitle) ended with Our Hero Keanu Reeves mostly dead yet slightly alive (again/still/more than ever), the Continental’s sacred hotel-for-rich-assassins charter revoked, and the audience left wondering how director Chad Stahelski and his Grand Stunt Army of the Republic could possibly top all that, which of course they’d have to because they ended on a cliffhanger as if to triple-dog-dare themselves into doing it all again. Hence John Wick: Chapter 4.

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“John Wick: Chapter 3 – Parabellum”: Once Again, Wick’s Mix of Kicks and Tricks Clicks

John Wick Chapter 3!

Our man Wick holding all the recap he needs.

It’s guilty pleasure time! I saw the first two installments of Keanu Reeves’ comeback on home video, where I could revel in macho action ballet without feeling obligated to write an entire entry about either one. Longtime MCC readers may recall any film I see in theaters gets its own writeup. And so we arrive at John Wick: Chapter 3 – Parabellum.

Reeves and his director Chad Stahelski managed two solid entries in a series. I had a coupon from Atom Tickets. And so it went.

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