Yeah. I'm thinking he's back

John Wick 4: The High Table
John Wick 5: The Higher Table
John Wick 6: The Desert Man and his Army
John Wick 7: The Desert Man's Boss

movie will just keep escalating like Dragon Ball.

did you watch the cam rip

>new Matrix movies
>Constantine 2
>Bill & Ted 3
>John Wick cinematic universe
Yeah, he's back

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So I guess he doesn't die in the 3rd one. Thanks a lot, Keanu.

Damn, I forgot how old Keanu is.They better start setting up those spin offs, because I'm not sure how much more he can take.

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the movie jonh wick 4 is very good

Yeah they are making these films too fast

>Constantine 2
Wait, what?

Didn't Back to the Future 3 come out just a year later?

Why do they keep making these? Are they any good?

It's done by the creator and same director
3rd is absolutely worth the hype. The rhythm is every 2 years that they release a sequel. I was kind of disappointed they dragged it out for another one. but bring it on, because I didn't think they could out do themselves from the last movie

yeah but 2 and 3 were shot at the same time

I hope baba yega will eat you

Werent they doing 4 and 5 back to back?

How long until he becomes a super hero like F&F?

There's also some rumor floating around that he's going to star in the new Eternals movie. Looks like the Mouse got him as well. But, take it with a grain of salt.

watching it now - it's preposterous

who's after desert man's boss? Or will he have to go back in time to reverse the parrabellums and resurrect his dead wife?

The action its great in half of the movie, the other half its just like you say and nutshots, overused nutshots, also to understand why theres no plot in the 3movie, you need to watch 1 and 2

>4
wait... the third one isnt the last one?

First one was great. Second one was boring as hell. Won't be seeing the third one.

the desert man only oversees the high table. his boss was part of a larger international organization. so far we've only seen the continental, there's similar safe houses worldwide, and an organization that controls them. the Winstons of other countries will join against Wick. eventually John will have to fight the top bosses, the seven, who are direct descendants of the seven assassins who created the original network.

after that he'll have to go after the people who trained the seven. after that, etc etc

Contrarian dickhead

The second one threw out everything that made the first unique and turned it into a generic action flick.

You mean trannies

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1 is great. I liked 2 but at this point I just wish it would end

based af. keanu is the savior of this time period's inexplicable capeshit obsession

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When was the last time hollyweird did a movie like john wick. My guess is theyll stop at 5

>are these movies good?
oh yeah. just watched the third one on saturday and might be going again next weekend.

>It’s a great pop-culture moment when the title character of John Wick 3: Parabellum (Keanu Reeves) is asked, “What do you need?” and straight-faced Reeves, in the lanky hair and facial scars denoting underworld conflict, responds, “Guns, lots of guns.” Finally, the “gun violence” cliché favored by hack politicians and robotic media spokespeople becomes the butt of a joke.

>Reeves’s answer repeats his 1999 futurist hit The Matrix, but it also defies moralizing pundits of all persuasions who repeat that “gun violence” malapropism as if screaming for redundant gun-control laws will get to the core of an American social problem. Their hypocrisy ignores the popular, real-world use of weaponry for self-protection and Second Amendment license.

>John Wick 3: Parabellum is impudent fun precisely because it exults in all-American freedom from victimhood. The title comes from the Latin Si vis pacem, para bellum (If you desire peace, prepare for war). Wick, a crime-world renegade, defends himself however possible — with guns, fisticuffs, martial arts, any object at hand used as slapstick.

>It’s no accident when John Wick runs through Times Square and an electronic projection of Buster Keaton — the movies’ original kinetic artist — looms overhead. Director Chad Stahelski, a stuntman-choreographer, glories in the fantasy pleasure and physics of self-defense. That is the theme of the entire survival-against-aggression John Wick series.

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He will have to defeat his own wife, who faked her own death

>Produced by Reeves, according to his uncanny pop-culture taste (proven by the Bill & Ted movies, the Speed films, and The Matrix), this series provides his most effective role: a revenge-seeker trope that doesn’t wear thin like Liam Neeson’s gung-ho father in the Taken movies. This film-noir existentialism is filtered through video-game surrealism. John Wicks pays his way through the underworld using gold coins like a Super Mario Brother. Morality is evident in John Wick’s asking loyalty of fellow gangland denizens who live by Hobbesian desperation and observe Dante’s warning: “Consider your origins: You were not made to live as a brute but to follow virtue and knowledge.”

>As John Wick outwits the clock that is counting down his excommunication from the criminal underworld (a $14 million bounty makes him a target for all comers), he bargains for cooperation from equally lethal desperadoes: Halle Berry, Anjelica Huston, Laurence Fishburne, and Mark Dacascos. The video-game storyline hits on something primal in the masculine psyche, but when Halle Berry’s Sophia commits to her “blood bond” with John Wick, it is the most satisfying, truly feminist argument for self-defense since the Margaux Hemingway film Lipstick. Berry’s blond-streaked ponytail feminizes older-wiser aggression, which is to universalize it. She commands her two protective Belgian Malinois dogs who attack men with phantom speed, always going for the groin. This characterization is the crowd-pleasing peak of Halle Berry’s career.

>Not a pantywaist proselytizer for world peace, Stahelski knows there’s pleasure in movie kinetics. The sheer nerve of the relentless fight scenes is hilarious, and their proficiency is cinematically gratifying. Parabellum lifts him to action-movie heights.

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>Last year’s best trailer, for Christopher McQuarrie’s helter-skelter violence in Tom Cruise’s soulless Mission: Impossible: Fallout, promised a dazzling he-man battle in a gleaming, mirrored restroom between Cruise, Henry Cavil, and an Asian martial-arts assassin, but the snazzily designed scene never exploded. Stahelski combines gun violence and kung fu knowingly, as art. He conducts each action showpiece as a witty bullet ballet, out-wowing John Woo. John Wick’s opponents keep popping up — two, six, twelve, 30. He combats them serially like a Park Chan-wook line-up. But each bullet-bouncing, hatchet-swinging, limb-twisting encounter — starting in a weaponry archive with stained-glass windows, then a motorcycle marathon on the Williamsburg Bridge — recalls James Bond movie hyperbole done with musical rhythm.

>The jokiness of the choreography mixes Bruce Lee’s The Chinese Connection with Michael Kidd’s Seven Brides for Seven Brothers. These are not fight scenes so much as kinetic rampages presented as whimsical interludes, such as when twin Asians congratulate Wick on his prowess, and then attack him with clam shuckers and unstoppable verve — they’re like hellbent Nicholas Brothers.

>Parabellum’s new kind of violence lacks the visual flair of Olivier Megaton’s Transporter 3, and the video-game script departs from the classical virtues of Luc Besson’s action flicks. But through actors like Reeves, Berry, Fishburne, Huston, and Ian McShane, we’re reminded that commonplace humanity can accommodate the survival urge even if society abhors it. Russian ballet instructor Huston tells John Wick, “As you know, art is pain. Life is suffering.” Stahelski’s multiple kills give relief — they have a beautiful, quick finality, and the pummeling sound of twelve-gauge blasts almost tickles, like a punch line.

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these movies are......
pretty good!

>This is the first video-game narrative I find acceptable. (The Marvel movies lack comparable skill.) On-screen subtitles distancing us from the horror of violence are part of Stahelski’s video-game sophistication. He’s not one of the ’70s movie brats hewing to traditional morality, yet he still pays homage to the aesthetic beauty of his masters: Keaton, Boorman, Leone, Kurosawa. And Stahelski takes us way beyond the Indiana Jones gun-versus-scimitar scene in Raiders of the Lost Ark. A swimming-pool fracas even makes a joke of the underwater bullet traces in Saving Private Ryan. Spielberg’s humanism has been flipped (Spielberg doesn’t even have it anymore), yet Stahelski’s talent and Reeves’s good will prevent Parabellum from turning sour or sadistic.

>To trust that we know the difference between fantasy and reality isn’t the same as desensitizing us to violence, not the same as the green-tinted Desert Storm bombing newscasts of the early Nineties that became the template for video games. Those extracted human life; Stahelski and Reeves abstract it. By the late Nineties, in the green-tinted The Matrix, the Wachowski sibling directors dished up postmodern rationales for dehumanization, but the green-tinted hotel-lobby shoot-out in Parabellum dispenses with excuses. The violent game is honestly understood as a game. At a time when a Trump-hating transsexual commits school shootings that trigger a coverup from moralizing phonies, the gun-control argument continues, but moviegoers can use the clear-headed catharsis provided by Parabellum’s comic understanding about the use of self-protective force. The certain popularity of John Wick 3: Parabellum is the strongest repudiation of political correctness imaginable.

>It’s an addendum to the tragic realism of Dragged Across Concrete. Parabellum doesn’t take the use of force lightly but takes it to heart, fondly.

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I only read armond for movies with black people. And django might be Tarantino only other good film since pf and rd

so stupid

Theyre written and directed by 2 former stunt guys. You figure it out.

what would Yea Forums think if keanu accepted a starring role in a new star wars trilogy?

BEST: Kill Bill Part 1
WORST: Hateful Eight
FAVORITE: Death Proof
OVERRATED: Pulp Fiction
UNDERRATED: Jackie Brown

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the Old Man of the Mountain will be the final boss

John Wick 4: I Should Really Have Gotten a Cat.

First one is a must see. Second one is a good movie that made some retarded decisions.
Probably won't bother with the third one because it'll be more in tone with the second.

How did Lionsgate get people's cell phone numbers?

Django conservative blacks (rare/hard to find)
Sam uncle tom Jackson liberal blacks (one in every house)

John Wick 5: Nvm Cats are for Cock Loving Homos. Let's Go.

absolute kino