‘John Wick’ Hotel Prequel ‘The Continental’ Isn’t Worth a Stay — and Not Just Because of Mel Gibson: TV Review

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‘John Wick’ Hotel Prequel ‘The Continental’ Isn’t Worth a Stay — and Not Just Because of Mel Gibson: TV Review
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I’ll give “The Continental” this: of all the reasons the “John Wick” prequel frustrates, underwhelms and disappoints, the involvement of Mel Gibson barely manages to rank. That, at least, is a majo…

The three-part series, subtitled “From the World of John Wick,” was anticipated by a steady stream of red flags: a gap of more than half a decade between the official greenlight and Wednesday’s premiere; the move from Starz, a network owned by franchise studio Lionsgate, to Peacock; the news that Chad Stahelski, the stunt performer turned action auteur, would not direct any episodes, though he retains an executive producer credit. In its final form, “The Continental” bears these misgivings out.

The beauty of “John Wick” is its blend of baroque excess with elegant simplicity. The first movie had a bare-bones plot, a skeleton scaffolding on which to hang set piece after set piece. John Wick’s dog, a gift from his deceased wife, is killed; those responsible must suffer. Only in subsequent installments was this Hammurabic fable built into an elaborate mythology. A global, underground network of contract killers is governed by a sacred code and a shadowy group known only as the High Table.

The season stretches the three-act structure of a movie into three episodes, each themselves the length of a feature film. First, Winston sets his sights on Cormac; Woodell’s growling delivery of the line “Guns. I need lots of guns” is a clear, if futile, attempt to channel Reeves. Then, he assembles a crew, including Frankie’s ex-partner Yen and arm-dealing siblings Lou and Miles . Finally, the three mount an assault on The Continental itself, punching and slashing their way through the halls.

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