‘The Continental: From The World Of John Wick’ TV review: Soulless

‘The Continental: From The World Of John Wick’ TV review: Soulless

Now you need to squeeze the “John Wick” lemon. sigh.

«The Continental: From the world of John Wick»

An American action drama divided into three parts

Premiere in prime minister Video Friday, September 22

Screenplay: Greg Coolidge, Sean Simmons, Kirk Ward, Ken Christensen

Director: Albert Hughes, Charlotte Brandström

Starring: Mel Gibson, Colin Woodell, Ben Robson, Michelle Prada, Jessica Allen, Adam Shapiro, Ayomide Adigun.

The VG die shows two dots

The film series about the grim killing machine John Wick, played by a sullen Keanu Reeves, came out with a bang in the form of the monomaniacal masterpiece “John Wick: Chapter 4” this spring.

It was a conclusion that exceeded all expectations, an action film for the history books. It would be nice if the “John Wick” industry left it at that.

But this is not how the film and series industry works. No one wants to give up when the game is good. Now the byproducts are starting to flow. In 2024, the stage is set for the “sister film” “Ballerina” with Ana de Armas in the lead role. Until then, we’ll have to make do with “The Continental: From The World Of John Wick.”

Hotel Apprentice: Colin Woodell as young Winston Scott in the movie

It’s become a duff TV series made up of three long, slow parts. An “original story” about how Winston Scott (Ian McShane in the movies, here: Colin Woodell) became head of The Continental: the mysterious hotel that serves as an oasis for assassins who need a break between shots and fights.

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We learn that Scott and his brother Frankie (Ben Robson) were small-time crime boys in the 1950s, taking on duties for Continental’s then-boss, the psychopath Cormac (Mel Gibson). When the hand of the law caught them by the collar, Big Brother took full responsibility. Winston immigrated to England, where he became a successful con artist.

“The Continental: From The World Of John Wick” takes place 20 years later, in the 1970s. Winston and Frankie haven’t seen each other in years. But fate arranges for them to be reunited. They both want revenge on the powerful crime lord who ruined their childhood.

The Lost Brother: Ben Robson as Frankie Scott in the movie

“The Continental” is a lukewarm byproduct. Another example of how much can go wrong when the number of producers on the script for a series is greater than the number of creative forces behind the scenes. Pedantic in his eagerness to please those who are already convinced Fan boys With hints, hints and ‘Easter eggs’. It is predictable and not interesting to everyone.

Everything is noticeably weaker than in the cinema films. The action scenes are cheesy, and also very few. The visual style and scenography, which the people behind it care so much about, feels fake, especially in the exterior designs. The poverty and rubbish floating in the streets outside the walls of The Continental Hotel is the luxury designer’s idea of ​​what slums and hard times look like.

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None of the actors have an ounce of Keanu Reeves’ weird, captivating movie star charisma. The game is great, with one close exception: Gibson. He could be somewhat floating on an ancient radiation, as well as suspecting that he might be barely Totally uncomfortable in real life.

Nicely dressed psychopath: Mel Gibson in film

It would have been better to send the dialogue text to ChatGPT. The characters we get to know from the criminal underworld are all generic stereotypes, culled from other, much better productions. An eccentric killer with a Playmo hairstyle? Haven’t we seen that before somewhere?

The feeling that no one needs to tell this story hangs over the entire dizzying slump. “The Continental” exists because someone was willing to pay for it, and only because of it.

Friends or friends?: Jessica Allen and Hubert Point du Jour

Good things can come from entrusted work. But not here. There is something depressing about seeing such great resources, both monetary and human, being poured into something so uninspiring. (The cinematography, which is completely unabashed, is present in two episodes by Norwegian Pål Ulfik Roseth.)

One thing that stands out about this soulless assembly line product is the sheer amount of soul, rock and R&B songs from the 60s and 70s that cover the soundtrack. As if someone wanted to cover up weaknesses with impenetrable music. “The Continental: From The World Of John Wick” is as much a Spotify playlist as it is a TV drama.

Ashura Okorie

Ashura Okorie

"Infuriatingly humble web fan. Writer. Alcohol geek. Passionate explorer. Evil problem solver. Incurable zombie expert."

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