Ballerina

If someone could be as inventive about solving the world’s problems as this movie is about killing people, we’d probably have a paradise in no time. There wasn’t nearly as much thought put into the movie’s plot; you just get a relatively thin story that serves as a skeleton upon which the movie’s meat is hung—that "meat" being extended and audacious fight sequences. Those are done with this franchise’s usual aplomb, and are enough to satisfy any moviegoer's thirst for mayhem. Ana de Armas already has the human pincushion thing down to a T (as in "trauma") here, displaying admirable survivability even in the face of some truly savage stuff. Indeed, that is the element that makes this feature very much a guilty pleasure; you only hope and pray that no one out there takes this exercise in bad behavior seriously, or indeed as a template for how to engage in such behavior IRL, as the texters say. This movie does stand as a model for how to artfully present action sequences (a hallmark of the franchise going back to the very first Wick flick). Indeed, the aforementioned Baba Yaga makes an appearance here, one that is actually surprisingly deep and lengthy for an off-the-main-storyline work. I don’t know if this qualifies as an actual good movie, but it does deserve props for mostly living up to expectations via its expertly choreographed carnage. Light as a feather, perhaps, but this one does move in an appealing way. Hard to ask for more than that. 

John Wick: Chapter 4

Undoubtedly, this is the funniest movie in the series—which is saying something considering its denouement. But really, everything here is so over the top that you can’t help but laugh. It becomes clear here, if it wasn’t already, that these films are really live-action cartoons with a healthy dose of first-person shooter video game thrown in. One might be tempted to be dismissive of such a project, but there has always been something akin to art hiding within this mayhem, and that too comes out clearly in this outing. Director Chad Stahelski puts on an extraordinary display with several of the sequences in this flick, long stretches of screen time where well-choreographed action is shown within visual contexts that are skillfully composed, including one case—an extended overhead shot of an in-building gun battle—that displays a dazzling degree of vision and control. But it’s not all flash and visuals; this movie also has something on its mind. It’s actually a theme that has run through a lot of this series, but the concept really comes to the fore here, where so much of the action takes place in scenes of opulence: these assassins exist in the realm of the ultra rich—a caste that, according to these films (and the evidence of reality) is comprised wholly of true monsters. Oh, yeah, and on top of all that, Keanu is still Keanu; his title role remains an indelible character, vulnerable and indestructible at the same time. All in all, it’s a satisfying way to end one hell of a ride, one of the most unexpected and surprisingly enjoyable journeys in cinematic history.

Godzilla vs. Kong

Three for the price of two. See that's what I like about these movies: value. As for the cinematic value here, well, as Joe Bob used to say, there's a bunch of plot getting in the way of the movie. Hardly matters though; the storyish stuff doesn't particularly hold the real show back. The stars of the flick deliver tremendous performances, via their CGI presences. I'm not talking about the human actors, of course; they're all so lightweight that a puppy's bark could blow them away, let alone the bellows of the big guys. It's all ridiculous, absurd, hokey and ultimately entertaining, if you don't go in expecting Chekhov. Kong fu. Godzilla fu. No breasts (unless you count the monkey). It's a good day to be an eleven-year-old boy. The Bad Cat says check it out.

John Wick -- Chapter 3: Parabellum

There's an inherent contradiction in writing a review of a movie like this. The thing is almost all action; words are largely superfluous. Which is not to say it isn't enjoyable. The flick is exactly what you expect it to be, and there's a certain virtue in its simplicity and lack of pretense. If you've got the bloodlust, you'll dig it, few questions asked. The only real uncertainty here is how long these well-cast actors will be willing to reprise these particular roles (with at least one more sequel obviously set up on the horizon). Speaking of casting, a side note for the producers: sign those dogs up for a long term deal; they're real scene stealers. Taken as a whole--a bullet hole, no doubt--it works. As long as this crew can avoid the Baba Yaga of bad box office, one supposes this run will go on. I for one am good with that.