Whoever thought Mel Gibson would be a suitable replacement for Keanu Reeves—coolest guy in Hollywood—should look for a new job.
An origin story for Winston Scott , John Wick’s buddy and the manager of The Continental hotel that caters to hired killers,is a three-part prequel that gives franchise fans everything they want save for a charismatic marquee lead, interesting and exciting bloodshed, or characters and lore worth paying attention to for an extended period of time.
And did I mention that, on top of all its mistakes, it co-stars famously intolerant Mel Gibson as a villain who, at one point, viciously murders a gay man to keep him from his beloved?succeeds only in falling shy of expectations. With each installment running close to feature length, Greg Coolidge, Kirk Ward and Shawn Simmons’ series begins with its sole adrenalized bang.
To escape with his bounty, Frankie is compelled to slaughter a small battalion of adversaries, and director John Hughes orchestrates this sequence with requisite dynamic flair. Alas, it’s not a hint of things to come, as what ensues over the next four-plus hours is mostly world-building of the dreariest sort, all of it focused on men and women whose personalities and plights are impressively banal.
Because Cormac is mad about the theft of his precious MacGuffin, he kidnaps Frankie’s posh wheeler-dealer brother Winston in London and tells him he must retrieve his estranged sibling and bring him to The Continental or both will feel the wrath of the establishment, which wields “power beyond your imagination.
Although there’s a cartoonishness to its grimy ’70s New York City, its silent, funny-haired twin killers Hansel and Gretel , and its masked Adjudicator —who serves on the High Table council that governs the hotel and its employees and patrons—is consistently tame and turgid.
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