John Wick: From worst to best! All films in the ranking

What began as straightforward, efficient men’s cinema has become one in the grand finale of the series decadent, ponderous violent opera mutated. For almost three hours, John Wick slaughters his way across the globe – and has hardly any lines of dialogue. Keanu Reeves grunts more than he would speak. There’s nothing to say anyway: in the hitman’s parallel world, which has always been mythologically overloaded with meaning in this series, everyone has long since accepted that killing each other could be the only answer to every possible question.

Director Chad Stahelski has let go of all inhibitions in “John Wick: Chapter 4”. It has long since become completely unimportant for him to dramaturgically legitimize his sometimes 30-minute orgies of action. The bloodiest possible killing of this film is its only basis of existence – and this inhuman cynicism pulls the fourth part into a pitch-black abyss. No matter how much you philosophize about the brilliant camera work, the dizzying choreographies or the unique neon look, in the end “John Wick: Chapter 4” is a cold and soulless violent trip in which the action can no longer be fun or should, because the slaughter without alternative in these scenes can only exist of its own accord if it takes itself as seriously as possible.

On the run from his own people, John Wick has only one way out: to flee to the front. It is well known that attack is the best form of defence. And action heroes are often the most fun when they have to fight their way out of their hole. With “John Wick: Chapter 3” the change from the one-man army to the one-man world war was completed. The action staging develops particularly in the long middle section in Casablanca a computer game-like level architectureso that the inclined gamer reaches directly for the controller to influence what is happening, like in “Call of Duty”.

One can get angry about this dehumanization of the one-dimensional hero and his faceless enemies and the third chapter of the John Wick story is certainly much too long. At the same time, however, the action film develops an almost cartoonish playfulness in playing through different ways of killing. Ninjas fighting on motorcycles, horse butts used as weapons by John Wick, books from a library shelf that can easily be hammer and nail at the same time… It’s almost amazing that there is at least one creative idea in every action scene in this film , which would have been the lone highlight in any other film of the genre. Bizarre highlight: Anjelica Huston as mafia ballet teacher.

When “John Wick” was released in cinemas in 2014, many action fans found him to be absolute benefit. The reasons are obvious: For more than a decade, a certain style has dominated the genre. Since the insane success of “The Bourne Supremacy,” numerous action films have relied on a very fast cut, often referred to as a staccato cut. He can be found in “Quantum of Solace”, “Colombiana”, “Taken” or even “The Hunger Games”. This style was a thorn in the side of David Leitch and Chad Stahelski. They worked hard as choreographers to invent elaborate fight scenes only to have them cut up on screen.

“John Wick” was their protest, their counter-movement – ​​and what a movement! From the first long action scene, every escalation of this revenge trip has one incredible kinetic energy. With deliberately calm clarity, every shot and shot can be precisely followed in terms of execution and impact. Whenever there’s no fighting, the two directors create an unsettlingly otherworldly atmosphere reminiscent of graphic novels. But none of this would work without an effective start, in which John Wick is portrayed as a broken widower who finds happiness in a young dog – before it is cruelly snatched from him. Even then it was clear: “John Wick” is here to stay and will deservedly become a franchise.

“John Wick: Chapter 2” is by far the best film in the series and one of the best action films of the 21st century to date. In the sequel, Stahelski expanded the baroque look of the “John Wick” debut into a parallel world of death and annihilation. The world of assassins and killer guilds is one Kafkaesque reflection of globalized societies. It is no coincidence that the leading elite of the murderer’s association is staged as if it were a globally organized corporation that drills its employees into absolute allegiance. At the latest when Wick goes to Rome, the Roman Catholic references become clear. There is talk of “excommunication”, of members of the Order and – of course – of guilt and atonement.

“John Wick: Chapter 2” is more than just an uncompromising, extremely brutal action film, which is often based on the style of Renaissance paintings in its fantastic pictures and introduces superbly quirky and mysterious, even mystical characters at a dizzying pace. He’s also a political parable: He shows a world in which church and corporation, in which faith and profit, in which fundamentalism and capitalism are put on the same level. Those who don’t adapt are left with only death or rebellion. Chad Stahelski chose rebellion and forced action cinema in a new direction – and he didn’t forget his role models. The grand finale in a hall of mirrors pays tribute to the classic martial arts film “The Man with the Deathclaw”. Well deserved, because one thing is certain: Bruce Lee would have liked this reference, probably the whole film.