Difference between revisions of "JOHN WICK: CHAPTER 3 — PARABELLUM"
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A blood-drenched art film in the manner of an ultraviolent ballet, with explicit references to major film-makers, including Andrei Tarkovsky.[https://en.wikipedia.org/wiki/Andrei_Tarkovsky] Colloquially fantastic in the sense of implausible in terms of the abuse a human body can take and still move and how much ammunition can be stuffed into even a series of high-capacity magazines for a wide variety of weapons. | A blood-drenched art film in the manner of an ultraviolent ballet, with explicit references to major film-makers, including Andrei Tarkovsky.[https://en.wikipedia.org/wiki/Andrei_Tarkovsky] Colloquially fantastic in the sense of implausible in terms of the abuse a human body can take and still move and how much ammunition can be stuffed into even a series of high-capacity magazines for a wide variety of weapons. | ||
| − | Relevant here for featuring time-pieces, including images of very large watch-faces in the mise en scène. Note also the historical sweep of gun technology we see, plus in the command center of the hunt for John Wick communications technologies from blackboards to old phones to various generations of computers. (There are also some large hexagons, not particularly relevant for anything in the story, nor cues to an SF or futuristic moment, but just there.) | + | Relevant here for featuring time-pieces, including images of very large watch-faces in the mise en scène. Note also the historical sweep of gun technology we see, plus, in the command center of the hunt for John Wick, communications technologies from blackboards to old phones and teletypes to various generations of computers. (There are also some large hexagons, not particularly relevant for anything in the story, nor cues to an SF or futuristic moment, but just there.) |
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Latest revision as of 18:18, 19 May 2019
JOHN WICK: CHAPTER 3 — PARABELLUM. Chad Stahelski, director. Derek Kolstad, story, "based on characters created by." Kolstadt, Shay Hatten, Chris Collins, Marc Abrams, script. Keven Kavanaugh, production design.[1] USA: Summit Entertainment, 87Eleven, Lionsgate, Thunder Road Pictures (production) / Summit Entertainment, Lionsgate (initial USA theatrical distribution), 2019. See IMDb for complexities of distribution.[2]
A blood-drenched art film in the manner of an ultraviolent ballet, with explicit references to major film-makers, including Andrei Tarkovsky.[3] Colloquially fantastic in the sense of implausible in terms of the abuse a human body can take and still move and how much ammunition can be stuffed into even a series of high-capacity magazines for a wide variety of weapons.
Relevant here for featuring time-pieces, including images of very large watch-faces in the mise en scène. Note also the historical sweep of gun technology we see, plus, in the command center of the hunt for John Wick, communications technologies from blackboards to old phones and teletypes to various generations of computers. (There are also some large hexagons, not particularly relevant for anything in the story, nor cues to an SF or futuristic moment, but just there.)
RDE, Initial Compiler, 19May19
