John Wick: Chapter 2 (2017)
When a movie makes as much money — and garners as much goodwill — as John Wick, a sequel is inevitable. That doesn’t always bode well, but in this case? It worked out beautifully. In fact, this is one of the rare franchises where each installment improves upon the last. The best comparison I can think of is the later Mission: Impossible films — starting strong, but only getting better.
A sequel was formally announced in February 2015, with Keanu Reeves, Chad Stahelski, and David Leitch all initially set to return, and Derek Kolstad back on script duties. Over the following months, returning cast members Ian McShane, John Leguizamo, Bridget Moynahan, and Lance Reddick were confirmed. New additions included Common, Ruby Rose, Riccardo Scamarcio, and Peter Stormare. Most notably, Laurence Fishburne joined as The Bowery King — reuniting with Reeves after their iconic pairing in The Matrix.
Filming began in October 2015 in New York City. Just before shooting started, a major change occurred: David Leitch departed the project to direct what would become Atomic Blonde. From what I understand, the split was amicable — both Leitch and Stahelski wanted to establish themselves as solo directors. Leitch would go on to helm high-profile action films (Deadpool 2, Bullet Train, The Fall Guy, Hobbs & Shaw), while Stahelski stayed with the Wick franchise.
After New York, the production moved to Rome and Montreal. The film was released in February 2017 to critical acclaim. It earned an 89% score on Rotten Tomatoes — an improvement over the original — and grossed $174.3 million worldwide on a $40 million budget. While there’s less behind-the-scenes drama to dig into this time, the results speak for themselves. Let’s get into the story and what makes this sequel shine.
The first thing I love about Chapter 2 is how it expands the mythology. The original hinted at a sprawling underworld, but due to budget and story constraints, it could only show so much. Here, we get a much deeper look into the rules, rituals, and hierarchy that govern the criminal world — especially the High Table and the Continental network.
The film begins with John retrieving his stolen car in a spectacular prologue, then trying once again to retire. But he’s pulled back in when Santino D’Antonio (Scamarcio) shows up with a marker — a blood oath exchanged for a past favor. John owes Santino for helping him complete the impossible task that got him out of the life in the first place. Santino demands he assassinate his sister, Gianna, so he can take her seat at the High Table.
John refuses. Santino blows up his house with a grenade launcher.
With nowhere else to go, John seeks refuge at the New York Continental, where Winston reminds him of the two sacred rules: no business on Continental grounds, and all markers must be honored. Bound by those rules, John travels to Rome to fulfill his debt.
This is the first film in the franchise to take us outside New York, and it opens up the world in a thrilling way. We learn that Continentals exist globally, each with their own managers and customs. In Rome, we meet a new concierge, and John prepares meticulously for his hit on Gianna.
Two standout supporting characters emerge here: Cassian (Common), Gianna’s personal bodyguard, and Ares (Ruby Rose), Santino’s mute enforcer. After Gianna dies (by suicide before John can pull the trigger), Cassian vows revenge. The two engage in a brutal fight through catacombs, streets, and eventually a subway car — one of the best sequences in the film.
Later, Ares pursues John with Santino’s full support, as Santino tries to tie up loose ends by eliminating John. But John’s not having it. He returns to New York and fights his way through wave after wave of assassins — leading to an uneasy alliance with The Bowery King.
I love the reveal that all the city’s vagrants are part of an underground intelligence and assassin network. The Bowery King is amused by the idea of killing a High Table member, so he gives John a gun with seven bullets — one for each million on his bounty.
John confronts Santino at an art gallery, kills dozens of henchmen (including Ares in a fantastic final fight), but Santino escapes — retreating to the sanctuary of the New York Continental. In a shocking moment, John breaks the cardinal rule and executes Santino on Continental grounds. Winston warns him of the consequences, but gives him an hour before his excommunicado status takes effect.
The final scene, where John walks through the streets and realizes how many people are in the assassin network, is chilling. Winston’s line — “They’re coming for you, John” — lands with weight. And then we get that final moment: John, now a marked man, prepares to fight the world.
There’s so much to admire about Chapter 2. The mythology deepens, the action gets bolder, and the world feels bigger without losing focus. The rules, the markers, the High Table — it’s all so well-drawn. Common makes a fantastic adversary, and his final fight with John is both brutal and oddly respectful. The way they share a drink at the Continental after crashing through the window? Perfect.
Laurence Fishburne is delightfully theatrical as The Bowery King, and Ruby Rose is a fun, stylized villain. Technically, the film looks gorgeous — Dan Laustsen’s cinematography leans into neon-lit grit, giving the world a stylized sheen that never feels overdone. This is everything a sequel should be. It builds on what came before, raises the stakes, and leaves you desperate for the next chapter.
John Wick: Chapter 3 – Parabellum
This is my personal favorite entry in the franchise.
After the success of Chapter 2, a third installment was officially announced in June 2017 with Derek Kolstad returning to write the script and Chad Stahelski back in the director’s chair. While Kolstad received sole story credit, he shared screenplay credit with Shay Hatten, Chris Collins, and Marc Abrams — marking the first time he wasn’t the sole credited screenwriter. Returning cast members Ian McShane, Laurence Fishburne, and Lance Reddick were confirmed in early 2018, with newcomers Halle Berry, Anjelica Huston, Asia Kate Dillon, Mark Dacascos, and Jason Mantzoukas joining later that year. Filming began in May 2018 in New York City and continued abroad in Casablanca. In July 2018, the film’s official title was announced: John Wick: Chapter 3 – Parabellum. “Parabellum” is Latin for “prepare for war.”
Picking up immediately after the events of Chapter 2, the film wastes no time throwing us into chaos. John has less than an hour before his excommunication takes effect. He rushes to the New York Public Library to retrieve a rosary, gold coins, and a marker hidden inside a book. Within minutes, he’s fighting for his life — using that very book to kill a seven-foot-tall assassin. That opening scene sets the tone: brutal, relentless, and inventive.
(In my best Stefon voice): This movie has everything — knife fights, horse chases, killer German Shepherds. What’s incredible is that it’s all completely bonkers, yet still feels perfectly in step with the world the first two films created. The stylized action and meticulous choreography are back and better than ever. But instead of just focusing on that (as great as it is), I want to dive into the characters and world-building, which this installment truly excels at.
Winston and The Bowery King return in more significant roles, both tested in new ways. Winston is torn between loyalty to John and his desire to protect the Continental. The Bowery King, meanwhile, refuses to yield to the High Table, paying dearly for aiding John — suffering seven slashes, one for each bullet he gave him.
Halle Berry is a standout as Sofia, manager of the Casablanca Continental and keeper of John’s marker. Her bond with her two incredibly trained German Shepherds adds an inventive flair to the action. The Casablanca sequence is easily one of the most thrilling in the film.
Mark Dacascos brings unexpected humor and intensity as Zero, an assassin who idolizes John even as he tries to kill him. His deadpan delivery and wide-eyed admiration (“I’m a huge fan!”) offer one of the franchise’s most entertaining dynamics.
My favorite new addition, though, is Asia Kate Dillon as The Adjudicator — cold, calculating, and ruthless. Dillon plays the role with such clinical precision that they become one of the most quietly menacing characters in the series.
Anjelica Huston’s character, The Director, opens the door to John’s backstory. As head of the Ruska Roma crime syndicate, she oversees the training of ballerinas and fighters. We learn John was once one of her children — real name Jardani Jovonovich. By presenting his rosary, John forces her to honor an old bond, granting him passage to Casablanca. However, in doing so, his “ticket” is torn, permanently severing him from the family. The Adjudicator later punishes The Director for helping John, reinforcing just how far the High Table’s reach extends.
I can’t not talk about the final act. With the New York Continental deconsecrated, the High Table declares war, sending in armored enforcers to reclaim it. John and Charon (Lance Reddick) team up in a bloody battle to defend the hotel.
This is Charon’s moment. Up until now, he’s been polite, composed, and slightly comedic — offering to watch John’s dog, or commenting on the laundry situation. But here, he proves he’s every bit the badass. Armed with a shotgun, he joins John in a spectacular close-quarters firefight, mowing down attackers.
Meanwhile, Winston calmly sips whiskey from a bulletproof vault, casually observing the mayhem. It’s the perfect contrast — and one of the most visually and tonally satisfying sequences in the series.
During a rooftop parley with The Adjudicator, Winston is offered a chance to reclaim the Continental — if he proves his loyalty. When John arrives, Winston appears to betray him, shooting John and sending him tumbling off the roof. But when The Adjudicator rushes downstairs… John’s body is gone.
She warns Winston of the consequences should John survive.
Cut to: John, battered and barely alive, delivered to The Bowery King’s lair. Now scarred and seething, The Bowery King looks down and asks one question:
“Are you pissed, John?”
“Yeah,” John replies.
Cue credits.
Everything about Parabellum works for me — the characters, the myth-building, the pacing, and especially the final act. The Ruska Roma flashbacks expand John’s backstory without over-explaining. The new characters are unforgettable, and the balance between action, world-building, and tone is masterful.
And that ending? It left me pumped for Chapter 4. It also made me question Winston’s loyalty — did he truly betray John, or was this part of a bigger plan? It kept the mystery alive.My only nitpick? The subtitle. It’s a great title thematically, but it bothers me a little that it’s the only film in the series with one. If Chapter 4 had a subtitle too, I’d be fine with it — but as it stands, Parabellum sticks out. Still, that’s a minor gripe in an otherwise stellar film.
John Wick: Chapter 4
After four years, Wick was back — and bigger than ever.
Following the release of Parabellum, Lionsgate quickly greenlit Chapter 4. In August 2020, it was announced that both Chapters 4 and 5 would be shot back-to-back. That plan was ultimately scrapped by March 2021 due to creative and scheduling concerns. Director Chad Stahelski said he wanted to focus on making one film at a time to maintain the series’ high standards. Keanu Reeves and Stahelski both returned, with Shay Hatten and Michael Finch co-writing the screenplay (Derek Kolstad did not return for this installment, which he has addressed with grace and support in interviews).
Returning cast members included Ian McShane, Lance Reddick, and Laurence Fishburne, while new additions featured Donnie Yen, Bill Skarsgård, Hiroyuki Sanada, Shamier Anderson, Clancy Brown, and Rina Sawayama in her film debut. Filming took place across Berlin, Paris, New York, and Japan, beginning in June 2021 and wrapping in late October.
Before diving into the story, I’d be remiss if I didn’t mention the late Lance Reddick, who passed away just days before the film’s release. Known for his calm authority and sharp presence, Reddick brought so much to the role of Charon. His sudden and unexpected death was heartbreaking, and while his screen time in Chapter 4 is brief, it’s meaningful. The film is dedicated to him — a fitting tribute to a performer who brought soul and elegance to the chaos of this world.
Chapter 4 finds John fully at war with the High Table. After surviving Winston’s betrayal, John is now a ghost — hunted across continents. The story opens with John in Morocco, exacting vengeance on the Elder. But the High Table isn’t done. They send a new emissary: The Marquis Vincent de Gramont, played by Bill Skarsgård with smug entitlement and a taste for cruelty. He strips Winston of his power, destroys the New York Continental, and executes Charon as punishment for failing to kill John. It’s a gut-punch of an opening that makes the stakes crystal clear.
The Marquis hires two killers to do the job John couldn’t finish:
- Caine, a blind assassin and John’s former friend, played masterfully by Donnie Yen.
- Mr. Nobody, a mysterious tracker accompanied by a loyal Belgian Malinois. Shamier Anderson brings swagger, patience, and mystery to a character that could have easily been a one-note side act.
Meanwhile, John seeks sanctuary in Japan at the Osaka Continental, run by his old friend Shimazu Koji (Hiroyuki Sanada). Koji’s daughter, Akira (Rina Sawayama), handles security. But soon, Table agents led by Caine arrive, and everything explodes into violence. What follows is an extended action sequence that’s both balletic and brutal. This might be my favorite sequence in the film — the blend of gunplay, katana combat, and Caine’s echolocation-like fighting style is mesmerizing.
As the story unfolds, John traverses Berlin, where he must earn reentry into his family, the Ruska Roma. To do so, he must kill Killa Harkan, a grotesque, gold-toothed gangster played by Scott Adkins in a fat suit — a sequence that’s as grimy and stylish as it is fun.
Eventually, Winston strikes a deal: John can challenge the Marquis to a duel, invoking an old Table tradition that would allow him to win his freedom. But to do that, he must be accepted back into the family — and find a second in command (Winston volunteers). The final act takes place in Paris, with John racing across the city to reach Sacré-Cœur by sunrise.
This climaxes in an incredible sequence at the Arc de Triomphe, where cars smash and spin as John fights for his life in the middle of active traffic. Then we move to the “stairway to hell” — literally. John must climb 222 stairs to reach the basilica, only to be knocked all the way back down. He climbs again, aided by Caine, who recognizes that their fates are now tied.
In the final duel, John and Caine face off at 30 paces, pistols drawn, each firing a shot per round. The tension is unbearable. After two rounds, both men are wounded. In the third, Caine shoots John in the gut — and the Marquis, eager to finish him off, demands the killing blow.
But in a moment of brilliance, Winston reveals:
“You arrogant asshole. He never fired his last round.”
John, still alive and armed, shoots the Marquis dead.
Caine is declared the winner. John is finally free.
He and Winston share one final moment before John stumbles down the steps and sits. We see visions of his wife. Then he slumps.
Cut to: Winston and the Bowery King visiting his grave. It reads:
“John Wick — Loving Husband.”
What a finale. Chapter 4 is epic in every sense: scope, runtime, action, and emotion. The choreography is jaw-dropping, the world-building richer than ever, and the characters — especially Caine and Mr. Nobody — leave lasting impressions. Donnie Yen is phenomenal. His performance is so good, you forget he’s playing a trope we’ve seen before. He brings warmth, dignity, and regret to every scene. His chemistry with Keanu is palpable, even when they barely speak.
I also have to praise the cinematography — Dan Laustsen returns with some of the most striking visuals in the series. The top-down Dragon’s Breath shotgun sequence? Instant classic.
But what I admire most is the emotion. John’s arc has always been about grief, love, and legacy. This film brings it all full circle. The ending is ambiguous, but satisfying. Whether John is truly dead is left open — but I hope they let it stand. It would be a beautiful, bittersweet end to his journey.
Of course, I can’t always have my way. In April 2025, Chapter 5 was officially announced with both Reeves and Stahelski returning. Again, I wish John would stay dead. That being said, this franchise has defied the odds and improved upon each installment, so I’m hoping that trend will continue. Either way, I’m there opening weekend. It’s not just Chapter 5 ushering in the future of Wick. The aforementioned Ballerina spin-off, starring Ana De Armas and featuring Keanu Reeves in a supporting role, is set for release in June 2025. In late 2023, a prequel mini-series focusing on a young Winston, titled The Continental, was released to mixed reviews on Peacock. Admittedly, I haven’t watched the show, but should sometime. In April 2025 at CinemaCon where Chapter 5 was announced, Lionsgate also announced an anime style prequel film and a Caine spin-off film to be directed by Yen that takes place directly after Chapter 4. Other potential discussed projects include a spin-off focusing on Halle Berry’s character, Sofia, one focusing on The Bowery King, and a sequel to Ballerina. It’s clear Lionsgate has a cash cow on their hands, but I’m hopeful that the next phase in “The World of John Wick” is that it can live up to the quality set by these four films.
As a (yet) unproduced screenwriter, studying this franchise brings me joy to know that the initial script was written on spec. For all of you screenwriters struggling, just remember that this whole saga started because a man’s puppy was killed and he wanted revenge.
