Brandon_Walker_Robinson

If the recent bout of comedies has taught me something, it's that a movie can be funny, good (on its merits minus the comedy), have a likable cast... but if the promotional marketing doesn't entice you in believing that the comedy has at least two of those three, then it's unlikely to gain any traction or attention. Because we were graced with a red band trailer, we would know exactly what kind of comedy it would provide. The plot felt basic enough to not expect Academy-level storytelling, so it is all up to that cast. We have dogs. Do you love dogs? Combined with the comedy, this may be just the movie for you.

I don't want to oversell things too much, as what you see in the red band trailer is the kind of comedy that you get. Jokes are surface level with sex, drugs, and plenty of foul language, mixed with plenty of dog antics. You might not laugh the hardest you've ever laughed, but it just makes sure that you laugh enough plenty of times. Jokes aren't ever cringy, just crude/try-hard enough to keep the smiles permeating. Somewhere is a PG-rated version of this that could exist, and I don't know if it would bring enough "laughs" or "good story" with the love of dogs to bring in the masses, so clearly Lord & Miller knew their selling point was to bring on the filthy.

The sell for me however was the dogs. I know that if we had the choice to hear dogs' thoughts we'd prefer not to, but we have ways of communicating for them ourselves and this movie does exactly that. Because they do, for dog owners and dog lovers out there, this can bring certain emotions that'll make you want to go home, hug your dog, and reassure them that they the greatest joy of your life. For all of the moments that bring you levity, somewhere Sarah McLachlan may be lurking around in your mind singing "Angel" and reminding you that dogs (and many other domesticated animals) tell us everything about what they're feeling without saying a word, and a raunchy slapstick comedy such as this one does so easily in about 90 minutes.

I never saw The Adventures of Milo and Otis or the live-action version of Lady and the Tramp, and I fast-forward through those other dog food commercials where they use CGI to open their mouths, but color me amazed when you have a film with animals as the stars. Half of the time I was watching, I sat there wondering how they achieved the shots that they wanted. It's quite adorable to think of these dogs as a cast of actors and they are trained to do certain things on command when the word "action" is called; in fact, this brings me back to feeling bad for some of the pooches when you put a funnel on them or shove them off of a couch for the sake of our entertainment. There are times where I'm sure they use visual effects trickery outside of mouth movement, but for the most part it seems you are seeing real dogs do real action. Speaking of which, I almost feel there would be a unique innocence if they didn't bother to move their mouths, so they speak more in "thought" than anything else. I think it would've worked just fine to anthropomorphize them a little less. That's neither here nor there, but it would save them on budget if they gave it a shot and it should still have good effect.

Will Ferrell was in where I find him best: portraying a fish-out-of-water character. In this case, a dog being a stray for the first time. Jamie Foxx was hilarious, but Randall Park as Hunter was my favorite and will probably be the most for others as well. Rob Riggle seems like an obvious choice to voice a dog but I felt his was a little more out of place, though he's not in it much to matter. Will Forte plays our main human character, and is the perfect jackass to motivate our strays. In fact, any time humans were around they really did help bring together that wholesome touch that remind us about the connection that makes dogs special as our best friends. This movie isn't written with tons of heart in mind, but in its very own nature you will find it if you care for our canine comrades as much as I do.

To bring it all together, it's funny enough without splitting your sides and cheats by throwing animals in your face as the cast, and yet because it is short and simple it is effective. They could've contained themselves more on the R-rating, but they have my blessing as a comedy if they think it'll make the audience laugh. This works, and I enjoyed myself.

That lasted 169 minutes? I had no idea. The time just flew right by.

Chad Stahelski does not pull any punches (or engage the safety) at any time in this gun-fu epic. Combat scenes are not moments so much as they are entire acts. The amount of stunt choreography that everybody had to synchronize to was rather incredible, and they continue to find more ways to entertain us with kills, kill types, use of weapons, locations, teamwork, etc. I caught myself smiling for minutes on end several times while watching it.

Of course though, as I said, they really lean into it. I'm sure this has been true of previous films as well, but it is very apparent that John Wick should virtually die in every scene that he is in. Whether it is how he is attacked or how they fail to attack him at the right times, he goes at every foe like the bear in The Revenant with full adrenaline and no signs of slowing down no matter what he is hit by. And again, I think if you look hard enough you will find enemies who have clear shots and choose not to take them because of plot armor, but you can forgive it enough if you're rewarded with a longer take or overall longer action sequence. What I really loved was how many of these scenes took place at night with dazzlingly lit environments all around, and the music in every scene kicks as much *** as what you see on screen. I had pondered over why John Wick doesn't have a video game yet, but if they ever make one I have decided I'd like one of those top-down shooter games (similar to The Hong Kong Massacre, and if not maybe like the GTA:SA MP rampage style).

I acknowledge this franchise for what it is now, but I still pine for some of the missing components that I don't know if it'll ever be able to bring back. After watching John Wick, fun as it was, I found myself interested in seeing a prequel when he was the Baba Yaga in his prime, taking missions rather than being hunted. Even still, at least in that movie he was absolutely feared. In Chapter 2, I still found him heavily respected, but it was in that movie that I realized there would probably be a repetitive formula to the narrative and movie/action structure (which still has yet to break). In Chapter 3, there only lived assassins and they would go after him without hesitation, which did is not how I felt the world breathed the first time around. They continue down this path in Chapter 4, while opening the universe more to different characters breeding their own kind of loyalty. They are all insanely fun to watch, and you see the cogwheels of the John Wick universe spinning with the future Continental television show and the Ballerina movie spinoff. Where they remain faulty though is even with the existence of civilians during fight scenes, they act as droning NPC's like nothing is happening around them, or they aren't there whatsoever. It is clear that this is not our world that this movie takes place in, but rather a parallel one.

I mentioned the introduction of new characters in this world, and you can't not bring up Donnie Yen when talking about them. He steals each and every scene that he is in, and it's crazy because you wonder how a character like his could thrive in such a world but you absolutely believe it when you watch it. I will absolutely take more of him and Rina Sawayama. She isn't featured as much, but she makes use of every second that she is in front of the camera. There are plenty of others (such as the great Hiroyuki Sanada), but the point remains that Wick is relegated to this greater universe with characters who-good, bad, or for themselves-are ones we can actually root for in any fight. Keanu Reeves is understandably less nimble at his age than the others (and it's either bad acting or he really has taken on this John Wick role in his line delivery to hilarious new heights), but he and Stahelski have found a groove that still makes him the most impenetrable force around, to the point that I go back and watch the action scenes in The Matrix Resurrections and wonder what happened there. I didn't love one particular character in their big fighting moment(s), but they go for versatility and I have to give them that much.

March has had an incredible run of theatrical films, and John Wick: Chapter 4 is no different. You will lean forward during the action which there is plenty, and if I'm one to go off of you will not feel the runtime. There is an end credits scene as well if you're able to stay for a moment longer. I would love to go back and see this one again.