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The Wickedness That Man Do: The Logic, Structure and Morality of “John Wick”

The John Wick films remain a minor miracle.

John Wick was the product of an era where big budget action films were increasingly moving away from in-camera effects and practical stunt work towards computer-generated spectacle. The original film was designed to consciously showcase the craft involved in stunt work, a profession that is still undervalued in filmmaking circles. (Notably, there is no Academy Award for “Best Stunts.”) The original film was designed from the ground up in order to give a group of stunt artists the opportunity to showcase their craft for theatrical audiences, at a point in time where a lot of the best stunt choreography was going direct-to-video.

It certainly works on those terms. The films in the series are among the most impressive action films of the twenty-first century, showcasing the commitment of the stuntmen working on them. The climax of John Wick: Chapter II and the opening thirty minutes of John Wick: Chapter III – Parabellum rank among the most visceral action ever captured on film. The films even acknowledge their influences and inspirations; the opening scenes of Chapter II feature Sherlock Jr. projected onto the front of a building, while Chapter III broadcasts The General on a Time’s Square billboard. This is not arrogance, but aspiration.

However, there is something interesting happening beneath all of this. The story running through John Wick, Chapter II and Chapter III is largely incidental; the tale of a man who lost his puppy and who embarked upon a murderous rampage that sucked him back into a life that he long ago abandoned. The world-building is impressive, but abstract; the characters navigate a byzantine social structure of rules and codes that govern an underworld of assassins, arms dealers and black market surgeons. The whole set-up is incredibly heightened, and incredibly fun. It is absurd, but enjoyably so.

At the same time, these aspects of the John Wick have a strange and powerful resonance. The entire John Wick series is built around the idea of codes of honour and rigid social hierarchies, in a way that feels more than just incidental. This world of gold coins and killer hotels, of a New York City seemingly populated entirely by murderous assassins, is one of the most striking aspects of the series. It also feels the most pointed and timely. The John Wick films are designed as visceral thrill machines, but there are aspects of the films that resonate beyond that.

In their own weird way, the John Wick films seem like the perfect answer to the modern troubled cultural moment.

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