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The fake feature's tagline is "See Spot Gun" my wife promptly insisted she would definitely watch an entire movie of it.Eminem's adopted daughter Alaina Scott confirms her engagement as boyfriend Matt Moeller surprises her with rooftop proposal Likewise, the satirical short "Dog Wick" that spoofs the first movie, with Wick being killed and his dog picking up a gun to shoot all the bad guys. Since it's not in linear order, and fails to consider a garotting to be a "kill," it's accuracy might be in question but its fun factor is not. While I suspect it cheats, there's a quick montage of every kill in the movie, accompanied by an onscreen counter. Even the sound design is real, as the gunshot sounds were all recorded from the exact guns used onscreen and Wick's tailor is the movie's actual costume designer, who was given a one-day crash course in acting by Reeves himself. Additionally, most of the locations are authentic, including that art museum in Italy and the ancient catacombs that Wick and his foes shoot up. Despite the tough paces to be put through, most of the name actors in the sequel didn't have to be recruited - they were fans of the first film whom Reeves brought aboard, from Laurence Fishburne to Common to Peter Stormare. The first John Wick was lauded for being a sort of "back to basics" action flick, but the sequel belies that impression, making it clear there's a lot more bizarre mythology behind this world of hitmen than just a guy who's sad about his wife and dog.īut even in a world with weird rules, realism is part of the attraction - Stahelski had all his cast train for months to be able to pull off all the moves, which then gave him more directorial freedom to stage the action, since he didn't have to edit around their weaknesses. Still, in the right director's hands, his detachment becomes an asset, and in John Wick Chapter 2, it's clear Stahelski and Reeves understand that his minimalist, detached style is being played for both action cool and laughs. You start to understand why he's often cast as super-intelligent characters, even as you wonder why he somehow can't just be himself in a non-documentary film, without that layer of artifice he brings. Yeah, he often shows up with bed-head hair that recalls his career-defining role as Ted "Theodore" Logan in Bill & Ted's Excellent Adventure, but he works hard to get in tip-top fighting shape, all while waxing philosophical about the ultimate battle is one with age, and he's going to lose it eventually. On another occasion, he poetically describes the color of a particular lighting scheme as "water and moonlight."īonus featurettes that run the gamut from focusing on Reeves' action training to his friendship with Stahelski only increase that impression. In a recording studio together, they're just bros talking smack, and Reeves frequently affects an overly slick "announcer voice" to exaggerate what's going on onscreen. He's most apparent on the commentary track with director Chad Stahelski, who's been his friend since being hired as his stunt double for The Matrix. Heck, it's tough to even imagine that anyone who encountered Reeves without knowing his work would even think to make a "Whoa, dude!" joke.īut that Reeves is all over the John Wick: Chapter 2 Blu-ray, even though the guy he plays in the movie itself is a man of few words and multiple fatality moves. Warm, casual, and highly intelligent, the man you encounter when he's not acting has never, ever come across quite that way onscreen.
So it's fascinating to actually meet the guy in person, as I have at press junkets. Reeves almost always plays slightly dazed and disjointed, a quality that at best is used to create an otherworldly, zen-like detachment from the craziness that surrounds him, and at worst makes him come across as a dumb stoner. When you look at Keanu Reeves' all-time worldwide hits, topped by The Matrix Reloaded with over $742 million, and bolstered mostly by action movies like Speed at $350+ million and The Day the Earth Stood Still (remake) at $233 million, with the occasional campy part as beefcake hunk in the likes of Bram Stoker's Dracula ($215 million) and The Devil's Advocate ($152 million), a pattern emerges.