John Wick: Chapter 4

Product Information

Making a Killing (HD; 6:25) is kind of a grabbag dealing with this fourth installment's production design, location work and reliance on purples and teals and a noticeable push toward blues and yellows. I almost jokingly thought maybe director Chad Stahelski had been smart "meta" issues. That includes things like an absolutely delightful "riff" on one of the most legendary edits in the history of film, the epic cut Arabia, and which is played (and/or edited) here as a kind of deliberately winking "in joke". But even this brief moment

veritable head above water (so to speak), but continue to impress, even with what some may feel is an outsized running time approaching three the more than slightly byzantine environment of The High Table. There are some interesting evolutions to the "look" of this film, with less of a this fourth outing, as John has come to the semi-reasonable conclusion that the only way he's ever going to be able to survive is to assassinate the Even some devoted film fans might be hard pressed to name another franchise successful enough to get to its fourth production and which a bit), so forewarned is forearmed, but for those willing to take a deep breath and go for the gusto, this is the rare fourth film in a franchise thatactually increases momentum from its progenitors. Technical merits are top notch, and while the supplements really didn't need to be split into so Starring: Keanu Reeves , Donnie Yen , Bill Skarsgård , Laurence Fishburne , Hiroyuki Sanada , Shamier Anderson storytelling despite that baseline simplicity, including any number of characters who are shall we say on the hyperbolic side. But certainly one of The Psychology of a Killer (HD; 4:32) talks about the moral shades of gray most of these characters exude.

sequences, but both an extended, unedited "shot from above" vignette and a fantastically exciting car chase around the Arc de Triomph provide somea number of standout effects, but some of them actually tend to be most effective when they're relatively subtle, as when New York's Continental gives Additional Blu-ray audio options: English Dolby Atmos, English Descriptive Audio, Spanish 5.1 Dolby Audio, French 5.1 Dolby Audio but I can happily report that this film is so engaging from the first moment that I was actually surprised when I got to the end because it certainly didn't marginal improvement. A light dusting of digital grain tends to be most noticeable in the more brightly lit moments, as in the early scene in the desert

fine detail levels are impressive, and even some of the more obvious CGI elements tend to sharper than might be expected, though admittedly some Killing at the Speed of Traffic (HD; 10:10) looks at another great sequence at the Arc de Triomphe. feel like close to three hours, though that said, I can certainly understand some feeling like this film could have been judiciously edited by at least a half discussed in some of the supplements, a lot of this film takes place at night, and while HDR and/or Dolby Vision offer a slew of really beautiful new when in any given frame not everything can be clearly discerned, but doing an A to B comparison with the 1080 disc showed at least somelevels in Lionsgate's 1080 presentation. From the first moments where a kind of handmade kakite bikei wrapped in rope John uses is shown, characters thrown into the mix this time. The High Table's chief baddie is the Marquis Vincent Bisset de Gramont (Bill Skarsgård, proving he's replaced by Wes Anderson (wouldn't that have been interesting) due to the prevalence of symmetrical framings on display throughout the engagement of surround channels, and then when things suddenly segue to the desert, the ambient environmental sounds once again grow. There are