Latest news with #KeanuReeves'
Los Angeles Times
15 hours ago
- Entertainment
- Los Angeles Times
The John Wick spinoff ‘Ballerina' slays with style, but its dialogue has two left feet
The ever-expanding John Wick franchise is founded on our suspension of disbelief. The first 2014 entry convinced the audience to buy that Keanu Reeves' assassin would go to pieces over a puppy. Subsequent installments have attested that assassins abide by strict rules of decorum, that they've founded their own assassins' AAA which allows access to fine hotels around the globe, that they coordinate their dastardly commerce through a switchboard of rockabilly phone operators. The series' bleak and stylish bravado has swept us along for four films thus far and mostly carries us through this spinoff prequel with a klutzy title, 'From the World of John Wick: Ballerina,' directed by Len Wiseman from a script by Shay Hatten. But I got tripped up by its opening sequence in which a death squad invades a family's home and the father (David Castañeda) doesn't mind that his young daughter, Eve (Victoria Comte), is lugging around a noisy music box. 'Stay quiet,' he whispers. But the darned toy has been blaring 'Swan Lake' since 'Ballerina' started and, to our annoyance, it'll tinkle a few more times. That sort of nitpicky critique — and trust me, 'Ballerina's' plot inspires plenty of them — can be parried by an obvious rebuttal. Of all the absurdity in these films, that's your issue? That comeback has a point. In John Wick's universe, you're in for a penny, in for a pound (of flesh). Each difficult decision leads to an even worse one, with no chance of escape. 'Did you think that you could just walk away?' Gabriel Byrne's new heavy, the Chancellor, hisses to Castañeda's doomed daddy as Eve watches in horror. If you've seen any of these movies (which, even at their flimsiest, are still better than most action fare), you don't need that question asked or answered. In 'Ballerina,' you don't really want anyone to talk at all. Several times during the course of watching the movie, I wrote in my notepad: This dialogue is going to kill me. All you really need to know is that 'Ballerina' is set before the events of 2023's 'John Wick: Chapter 4' and that adult Eve (Ana de Armas) wants vengeance. Her quest to get it will have her tangling with Norman Reedus and Catalina Sandino Moreno as scarred members of the Chancellor's tribe, as well as testing the trust of Ian McShane's Winston, who returns as the manager of the underworld's Continental Hotel, alongside Lance Reddick's concierge, Charon, in his final role. There's also a cameo from Reeves' John Wick himself, here functioning as Eve's fairy godmurderer. As an angry orphan, Eve was taken in by Anjelica Huston's Director, who runs a co-ed academy of fledgling mercenaries called the Ruska Roma. (Huston's character debuted in 'John Wick: Chapter 3 — Parabellum,' in which she revealed that Wick himself was a pupil.) Resplendent in finery that makes her resemble a gilded black widow spider, the Director coaches kids to dance and brawl until they bleed. As maternal figures go, she doesn't get much warmer than advising Eve to take care of a toe injury 'before you get sepsis and we have to cut off your foot.' Eve is a good student and De Armas is a convincing killer. (An early fight-to-the-death against a spitfire Rila Fukushima is over too soon.) There's a scene where an instructor, Nogi (Sharon Duncan-Brewster), lectures Eve to 'fight like a girl' and she immediately hits her male opponent in the nads. A few scenes later, Eve shoots some other guy in the crotch and he bleats a funny little squeal. The Oscar nominee gives her physical all to the movie and, as a thank you, 'Ballerina' lets her stay mostly silent so its leaden lines don't weigh down her performance. Fortunately, De Armas has expressive eyes. A little over a decade ago, actresses in these kind of movies were handcuffed to the role of the damsel in distress. Hollywood transitioned out of that trope by letting women fight as long as they fought other women, conveniently inserting one bad girl for every heroine. Thankfully, that liminal stage is also now passé. But even by today's standards, it's impressive how often men get to kick De Armas in the kidneys. Her willowy frame takes a tremendous battering as brutes slam her into tables and through walls. In one rousing moment, she and her combatant greedily grab and smash plate after plate after plate on each other's heads. (Tyler Bates and Joel J. Richard's percussive score pairs well with a soundscape of shattering glass.) I didn't tally Eve's corpses, but her body count appears to be roughly as high as Wick's and she wasn't even forced to do it in heels. She favors sensible boots accessorized with a grenade belt. Her ballerina background, however, is fairly extraneous, even with De Armas made to stare solemnly at that blasted music box during her rare moments of rest. Dance has simply given Eve a canny sense of timing that allows her to hand someone a grenade and duck before it explodes. As ever, the fight choreography is fantastic, especially when Eve arrives in a Stepford-esque ski chalet town where every husband, wife and child has been trained in combat. There in the snow, she's tasked to swing heavy steel hooks on slippery floors and wield an ice skate like a knife. With the plot such a snooze, we're grateful that each fracas is creatively staged, even one we witness only in its aftermath, as Eve ditches two fresh corpses in a men's room and retraces her steps to her car, following her trail of victims like breadcrumbs in a forest. As a capper, right when Eve starts to drive away, there's a neat crane move with a motivation I don't want to spoil. The franchise has always excelled at mixing symbolism into its bloodshed. I'm still swooning over the sequence in the last film in which John Wick's Sisyphean struggle to quit his job for good was channeled into an extended battle: fighting up six flights of stairs, tumbling down and punching his way back to the top. Verbally, 'Ballerina' repeats its themes ad nauseum. People are always going on about dualities: choice versus fate, protection versus destruction, stay versus go. But whether Eve's inner black swan will win out over her white one is never in question. Instead, that polarity motif is more thrillingly captured when Eve fends off a flamethrower with a fire hose. If you really care (and I never did), the Chancellor is fixated on adopting children he can mold into a militia. He'll apparently risk dozens of full-grown proteges for one unproven tot. Not being able to abduct grade-schoolers is an affront to his clan's heritage. You imagine him brandishing a Don't Tread on Me flag even before Eve's revenge crusade is likened to cutting the head off a snake. It doesn't matter if Eve succeeds, the Chancellor insists, claiming that 'the system will continue as it has for the last 1,000 years.' Sure, go ahead and ask us to believe that John Wick's lineage stretches back to Beowulf, the Battle of Hastings and the Great Schism. Sounds like the studio has another spinoff prequel in mind: 'John Wick: The First Crusade.'
Los Angeles Times
3 days ago
- Entertainment
- Los Angeles Times
L.A.'s Sphere-like venue Cosm turns ‘The Matrix' into an immersive experience
When you watch 'The Matrix' at Cosm, you're essentially seeing a film within a film. A shot inside an apartment becomes a glimpse into an entire complex. A fight scene on a rooftop is now one small part of a giant cityscape. Look to the left, and a once off-screen helicopter is suddenly entirely visible. Cosm has won attention and a fan base for its focus on sports programming. A domed, 87-foot-diameter wraparound screen surrounds audiences at the Inglewood venue, creating an illusion of in-the-flesh presence. Can't make it to that NBA Finals or World Series game? Cosm wants to be your fallback plan, combining front-row-like seats with unexpected views. And now, Cosm aims to redefine the moviegoing experience. A revival of 'The Matrix' opens Thursday in what the company calls 'shared reality,' a marketing term that ultimately means newly created CGI animation towers, over, under and around the original 1999 film. Cosm has in the past shown largely short-form original programming, and 'The Matrix' marks its first foray into feature-length films. The hope is to not only see the film with fresh eyes but to create a sensation of being in the same environment as Keanu Reeves' Neo, Carrie-Anne Moss' Trinity and Laurence Fishburne's Morpheus. 'The Matrix' is an ideal film for this experiment, its anti-AI message decidedly topical while its themes grapple with dual visions of reality. There's been a host of so-called immersive ambitions to alter the moviegoing experience over the decades, be it the on-and-off flirtation with interactive cinema, a brief trend in the '90s that recently lived again on Netflix (see 'Black Mirror: Bandersnatch'), to more recent 4-DX theaters with movement-enabled seats (see the light, water and wind effects of 'Twisters'). Cosm, like the bigger, more live music-focused Sphere in Las Vegas, seems to have a different pitch: an all-encompassing screen that can provide previously unexplored vantage points, even at times creating a theme park ride-like sense of movement. Cosm's interpretation of 'The Matrix,' a collaboration with experiential creative agency Little Cinema, envelopes audiences from its opening action sequence when a nighttime view of a city skyline seemingly places us on a rooftop. Elsewhere, Neo's office building becomes a maze of cubicles. The film's centerpiece red pill versus blue pill moment centers the frame among oversized, glowing capsules. When Neo awakens, we are lost amid mountainous, industrial pods. The challenge: To not make it feel like a gimmick, yet to also know when to pull back and let the film stand for itself. 'The No. 1 core principle was to enhance and don't overshadow,' says Jay Rinsky, founder of Little Cinema. 'Metaphorically for us, the movie itself is the lead singer and we are the backing band. Let the movie be the star. Let it sing. And basically follow the key beats — follow the sound design, the emotional moments and enhance the action.' The accompanying images get more aggressive as the film races toward its climax. The animations are most effective when they're expanding the screen rather than echoing the action — showing us the viewpoint of a careening helicopter for instance, rather than repeating or mimicking a beat of the film. Having seen 'The Matrix' before, I know the story and its cadence, and was perhaps more willing to turn my attention away from the film, which is placed in the center of the screen and often set within a picture frame. In turn, I was dazzled by the scenes shot inside Morpheus' hovercraft the Nebuchadnezzar, in which the vessel's surroundings — its buzzing, electrical core and its assortment of monitors — are fleshed out around the screen. Film purists, I wonder, may balk at seeing images beyond the director's vision — Rinsky says he hasn't been in touch with directors Lana or Lilly Wachowski — but I found it could help build a world, especially for revival cinema on a second or third viewing. Expectedly, the film's final act becomes a bevy of secondary action. Bullets that fly off the frame of the film now find a landing spot, as building walls shatter and crumble around us. Cosm's screen is crisp and encompassing enough that it can mimic movement or flight, and thankfully this is used sparingly, twisting only when the film's characters take to the skies. When Cosm opened last summer Chief Executive Jeb Terry stressed the venue wasn't in the business of showing films, wanting to focus on sports or original programming. 'We're not a first-run theater,' said Terry. 'We're leaning into the experiential side.' Seemingly, 'The Matrix' fits this plan, as the accompanying CGI images have been in the works since about August 2024, says Rinsky, with the bulk of the heavy lifting beginning in January. Rinsky acknowledges 'The Matrix' fits the format particularly well because it 'plays in a realm of fantasy that allows you to change environments around,' but is quick to add that Cosm and Little Cinema hope to expand the program of enhancing Hollywood products. 'It is a bit of a mission and a philosophy,' he says. 'Every film in every genre has its own unique propositions and can be adopted and suited well. We're excited about horror, and we're excited about comedy.' Future projects have not yet been announced. Cosm also has a venue in Dallas, with spots in Atlanta and Detroit on the way. Rinsky's hope, of course, is that Cosm someday has enough market penetration that filmmakers can create the format from the ground up. 'I'm really bullish about this being the new cinema,' Rinsky says. 'I think in five to 10 years, there will be 100 of these around. Once it hits scale, then big studios will have releases created specifically for this format.' It's an optimistic view of the future that's arriving at a time of disruption in Hollywood, from shake-ups due to the streaming market to artificial intelligence. For Cosm, it's the early days, but it's a vision that needs neither a red nor blue pill. Its outlook is much more rose-colored.
Newsweek
05-05-2025
- Entertainment
- Newsweek
Wick Is Pain – Where To Watch New John Wick Documentary
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. Entertainment gossip and news from Newsweek's network of contributors A brand new documentary detailing the shocking rise of Keanu Reeves' John Wick series was announced last week, and the great news is that you won't have to wait that long to see it. Wick is Pain is heading for Video on Demand platforms like Fandango at Home and Prime Video from May 9, 2025, following a special screening at BeyondFest on May 8. Featuring testimonies from Chad Stahelski, Basil Iwanyk, Erica Lee, Jackson Spidell, Jason Constantine, David Leitch, and Keanu Reeves, Wick is Pain details the trials and tribulations of bringing John Wick to the big screen. The two-and-a-half-minute trailer shows us what we can expect from Wick is Pain, including never-before-seen footage, complications in production, and personal hardships as the team takes the indie film that almost never was and turns it into a billion-dollar franchise. Keanu Reeves as 'John Wick' in JOHN WICK: CHAPTER 4 Keanu Reeves as 'John Wick' in JOHN WICK: CHAPTER 4 Murray Close for Lionsgate Wick is Pain is the directorial debut of Jeffrey Doe, whose previous work as an editor has earned him a Primetime Emmy nomination. If you want to know how to watch Wick is Pain, read on below. We have information on where to watch Wick is Pain, as well as the Wick is Pain release date, and Wick is Pain streaming information. Wick Is Pain – How to Watch Wick is Pain releases on Video on Demand platforms on May 9, 2025. The film is already available for pre-order on places like Fandango at Home, Prime Video, Apple TV, and YouTube for $9.99. Where Can I Watch Wick Is Pain? The new documentary about John Wick, Wick is Pain, will first screen at BeyondFest on May 8, ahead of its digital release on May 9, 2025. Wick Is Pain Release Date Wick is Pain releases on digital on May 9, 2025. Is Wick Is Pain Available to Stream in the US? Wick is Pain is currently only available exclusively on video-on-demand platforms. What Is Wick Is Pain About? The full synopsis for Wick is Pain, as per Lionsgate, reads:
Yahoo
13-03-2025
- Entertainment
- Yahoo
Clue revealed about Keanu Reeves's involvement in fifth John Wick film
Keanu Reeves' role in the fifth John Wick film has been uncertain, but the team behind the franchise have revealed a clue about his future. The John Wick films follow Reeves as a retired hitman seeking revenge on the men who killed the dog given to him by his late wife. The first movie was released in 2014, with sequels following in 2017, 2019 and 2023. A spin-off, From the World of John Wick: Ballerina, was confirmed in 2020 and is to be released later this year. Although Reeves batted away rumours that he would be playing a part in the forthcoming movie, Lionsgate (the studio behind the film) have hinted that he may return in the future. 'This world continues to grow and expand in incredible ways,' Jenefer Brown, EVP and Head of Global Products & Experiences at Lionsgate, told 'Up next, of course, we have Ballerina, which is our first spin-off movie and [we] can't wait for that to release to the world.' Brown added: 'Of course, we've announced we're working on a fifth John Wick film. I think there are more spinoffs to come, a TV series, video game.' Asked about the possible return of the titular hitman in a sequel, the Lionsgate representative said: 'We've shared that we're developing a fifth John Wick film... [John Wick] may be [dead]. We are all on baited breath waiting to find out.' Asked whether he was keen to step back into the part, the Matrix star responded: 'You know, the character's dead. He died in John Wick: Chapter 4. I know, I know, it's the Hollywood story. Right now, there isn't [a plan to return]." In a four-star review of the fourth entry, The Independent's critic Clarisse Loughrey wrote: 'Even at its nearly three-hour runtime, John Wick: Chapter 4 commits so nobly to its self-seriousness that it almost borders into camp. 'And yet, the franchise possesses both the self-confidence and the ingenuity to earn its boldness – even at one point replicating the 1962 classic Lawrence of Arabia and its famous cut from a blown-out match to a shimmering expanse of desert.'
Yahoo
16-02-2025
- Entertainment
- Yahoo
Uruguay Emerges as International Shoot Hub
In December 2024, as a film-TV force, Uruguay came of age, co-hosting with Cannes Film Market, Ventana Sur, Latin America's biggest film-TV market, held since 2009 in Buenos Aires. Easy-to-work and welcoming, Ventana Sur also showcased what Uruguay can bring to the table. More from Variety Local Talent, Schooled on International Shoots, Boosts Uruguay's Film Industry FilmSharks Pounces on International Sales Rights to Videocine's 'Don't Leave the Kids Alone' (EXCLUSIVE) LevelK Inks Multiple Deals on Sex Positive Comedy 'Sudden Outburst of Emotions' and 'Dancing Queen in Hollywood' at EFM (EXCLUSIVE) That, as of 2024, is rather a lot and cuts two ways: 'Both production services on foreign shoots and international co-productions,' says Marcio Migliorisi, head of international affairs at Uruguay's film-audiovisual agency ACAU. Put together, they make Uruguay an ever-stronger film-TV hub and port-in-the-storm on a now highly volatile Latin American film-TV scene. One game changer has been Uruguay's sky-rocketed international shoot scene. Since 2019, Uruguay has hosted Keanu Reeves' 'The Conquest,' with troops storming Montevideo's central Plaza de la Independencia. The country also saw Bill Condon shoot the prison scenes of 'Kiss of the Spider Woman' and Brazil's 'Senna,' using Montevideo's airport to create a racetrack. Most spectacularly as all Montevideo-based Cimarrón, now a pan-Latin American company owned by The Mediapro Studio, provided services on 'The Society of the Snow,' from helping him to shoot the exact mountain backgrounds in the Valle de Lágrimas where the crash took place, and renovate Montevideo's old Carrasco Airport, now in disuse, for early scenes. The shoot serviced by Cimarrón called for 400 technicians and sometimes over 1,000 actors and extras. Other shoots serviced in Uruguay include Daniel Burman's 'Yosi, the Regretful Spy,' Oscar winner Armando Bo's 'El Presidente,' Disney+'s 'El mejor infarto de mi vida,' HBO Max's 'Amsterdam,' Max's 'Margarita' and Dori Media thriller 'Amaia.' 'Uruguay's emergence as an international shoot hub is no matter of chance. With a population of 3.4 million fuelled by emigration from Europe, Uruguay cannot live on its internal market,' observes producer Andrés Varela. Its economy has always looked abroad. 'Uruguay is accustomed to collaboration, working together, given its scale and cultural and multicultural characteristics,' says Migliorisi. In 2019, Uruguay's government launched a pilot Uruguay Audiovisual Program (PUA), offering up to 20%-25% cash rebates on foreign shoots and sizeable international co-productions, which are also waived 22% VAT payments. Capped at $1 million per title, the rebates are not the only reason foreign companies, most especially global streamers, shoot in Uruguay. COVID-19 hit Latin America in March 2020, five months after a pilot PUA was put it place. But the virus' incidence was low in Uruguay, with just 1,611 confirmed cases by September. With health and security protocols quickly put into place, Cimarrón's first production service, Prime Video's 'Manhãs de Setembro,' kicked off that same month. Other shoots – 'Yosi,' 'El Presidente' – followed quickly. What streamers warmed to is a safe and stable country, in political and economic terms, with lower costs by international standards, stunning Montevideo architecture, from the colonial to neo-classical, Caribbean – convincing Michael Mann to shoot 2006's 'Miami Vice' in the country – and Art Nouveau and Art Deco. At a compact difference outside Montevideo are 1,000 kilometers of coast, a broad gamut of beaches, desert dunes and extensive rural landscapes. Also key is the quality and depth of its local talent and technician pool. 'Over the last 15 years, a lot of universities in Uruguay have trained generations of highly flexible technicians, writers and directors,' says Cimarrón's Santiago López. Shoot costs have not spiraled in consequence, adds Agustina Chiarino. Also, the industry has grown in specific technical expertise. Uruguay's service scene is growing. Over 2019-23, 48 international productions shot in Uruguay. 20 filmed alone in 2024, according to ACAU stats. Now, the 'big challenge,' says Musaluppi, is how to leverage big shoots from overseas to develop Uruguayan talent. Best of Variety New Movies Out Now in Theaters: What to See This Week Grammy Predictions, From Beyoncé to Kendrick Lamar: Who Will Win? Who Should Win? What's Coming to Netflix in February 2025
