Cinema Dispatch: John Wick: Chapter 4, Renfield, and Air

With the window between theatrical and streaming collapsing as movies are coming hitting the home market mere weeks after their run in theaters, it’s getting a little too easy for me to just forget about something and return to it when it’s most convenient for me.  Before, there was a window where missing it in theaters meant you couldn’t see it in any form for months, but now I can just hold out for a bit and see it when it’s still kinda relevant with the added bonus of being able to fold laundry when I do so.  I’ll definitely try to get better about this, especially with so many big releases that need attention soon, but for now, let’s have some fun looking at three recent movies that were on your TV before you knew it!

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John Wick: Chapter 4

John Wick: Chapter 4 and all the images you see in this review are owned by Lionsgate

Directed by Chad Stahelski

John Wick (Keanu Reeves) is finally striking back against The High Table to take back his freedom, but with every life he takes, he incurs a greater debt that his friends and associates are forced to pay back.  With his friend Shimazu (Hiroyuk Sanada) targeted and his other friend Caine (Donnie Yen) called in to take him out, John is forced to spill even more blood and find ways to work the system to his favor as yet another member of The High Table (Bill Skarsgård) has him in his sights.  Will John ever get the peace he desires, or will his quest for vengeance be his ultimate undoing?

Now I actually did catch this one when it was still in theaters, but it wasn’t easy for me to come up with the right words for it back then.  Perhaps the reason why is that the John Wick franchise has been a bit of a bugbear for me as I appreciate what it’s doing and how well it executes its vision but simply cannot get past the narrative which got worse with subsequent sequels.  That issue, thankfully, has been mitigated here as the script does a lot to work around its more obnoxious conceits, though we still haven’t quite made it back to the first film as far as being a great movie instead of just an action-packed one; hence why I’m just now getting around to it.  The lack of agency for our main character has been addressed as he has a clear goal he’s striving for instead of getting dragged around by contrivances, but with that freedom comes the expectation to have an actual character again and sadly he’s just not as interesting as he was in the first one; something that others have noticed as well as his word count in this final entry was a joke when it first came out.  Thankfully the film’s solution is to introduce a lot of fun and interesting characters to pick up the slack, though it didn’t escape my notice that a lot of their plot threads are left dangling as Lionsgate is clearly interested in milking this franchise for years to come.  Donnie Yen turns in a terrific performance and is frankly the star of this movie as far as I’m concerned as he has all the pathos that John should while kicking all sorts of butt in the many action scenes that he participates in.  He’s easily the best character the franchise has come up with and I wouldn’t be surprised if Lionsgate is already begging him to be the lead in the next few of these movies.  My personal favorite addition, however, is Scott Adkins who shows up doing a phenomenal riff on LeCheffe from Casino Royale.  The guy is one of our best underrated-action-stars and he proves to be a natural comedian in a role that could have simply been a joke but is genuinely engaging, and his fight with John ends up being my favorite action scene in the movie.  All of this is well and good, but a problem the films still haven’t addressed yet is the length as they’ve been creeping up past two hours since the second one and this one just goes on and on.  No matter how good the action scenes are in this, and they are very good, it’s hard to sustain enthusiasm for as long as this movie expects you to.  I know I’m a bit of a sourpuss when it comes to this series and I admit that a lot of my antipathy is specific to my taste in storytelling, but for what it’s worth this manages to be a high note for the sequels even if it still can’t quite recapture the magic of that first film.

3.5 out of 5
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Cinema Dispatch: The Bye Bye Man

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The Bye Bye Man and all the images you see in this review are owned by STX Entertainment

Directed by Stacy Title

See, I thought I wouldn’t have to talk about STX Entertainment again until that damn Mars YA movie finally came out (ENOUGH WITH THE TRAILER ALREADY!) but it looks like they’re here to fill the January Horror Movie quota which was met in previous years by gems such as The Forest, The Devil Inside, and Texas Chainsaw 3D.  Then again, The Boy came out in January of last year, and that was ALSO a film from STX Entertainment, so maybe there’s just a TINY bit of hope here.  Can STX pull off the impossible yet again and give us a January horror film that won’t embarrass the genre, or is this movie just as stupid as its title suggests?  Let’s find out!!

The movie begins in the late sixties where a guy (Jonathan Penner) shoots a bunch of people because they had heard of THE BYE BYE MAN, which I’m sure was the most sensible solution to that problem.  Jump ahead five decades and we find ourselves in modern times where three college students, Elliot, John, and Sasha (Douglas Smith, Lucien Laviscount, and Cressida Bonas), just moved into a new house off of campus and are cleaning up all the crappy furniture that the landlord left them.  Of course, one of the tables has something crudely etched on it that Elliot ends up reading.  Of course it’s the words THE BYE BYE MAN, and in doing so he… I guess invites The Bye Bye man to take permanent residence in his brain.  You know, at least when they summoned the deadites in Evil Dead, they had to read a WHOLE passage from an ancient Sumerian text instead of just a dumb name!  Anyway, the name eventually reaches his two roommates as well as some sort of psychic who is obvious slasher fodder (Jenna Kanell) and so The Bye Bye Man just starts messing with all their heads; making them see things that aren’t there and driving them more and more insane in the process.  Will the three of them find a way to get past this monster’s illusions before it makes them do something they’ll regret?  Why did that dude in the sixties end up shooting everyone who had heard of this… ghost, I guess?  Did anyone stop to read the script before filming this, or were they winging it the whole time?

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“Just watch it, don’t question it.  I wonder what that means…”

Continue reading “Cinema Dispatch: The Bye Bye Man”