Review of John Wick Chapter 3 Parabellum

John Wick: Chapter 3 - Parabellum (2019) Dir. Chad Stahelski

Keanu Reeves returns once more as the eponymous ‘hero’ John Wick in this third instalment of the hyper-violent neo-noir action series. The movie picks up immediately from the previous sequel where the ex-assassin is in New York escaping from a $14 million hit put upon his head after his unsanctioned killing of a member of the “High Table” – a seedy cabal of hitmen and women. But before you can say “parabellum”, Wick is involved in bloodier fist/knife/gun fights than ever before.

Influenced at times by old gun-slinging westerns – (Wick-y Wick-y Wild Wild West) he uses 6-shooter guns and tomahawks, rides a horse through Manhattan and there is a distinct steel-guitar vibe on the soundtrack. Technical wise, the lighting is beyond fantastic with the gorgeous visuals, neon lights and heavy rain giving the locations a classic cinematic feel in comparison to other genre films.

The culture continues (as first seen around Rome in Chapter 2) with scenes set at theatres, museums, libraries and art galleries setting the somewhat low-brow fight action against more civilised environments.

During a ballet rehearsal, a rare but welcome Anjelica Huston appearance explains “the path to paradise begins in hell”. This is one of a number of religious nods alongside a crucifix necklace, stained glass windows and later on a cross is seared on Wick’s back before a gruesome scene of anatomical sacrifice. And redemption is a big theme too. Wick wants out but is drawn back in – not just by his guilt – but by a sense of obligation to the codes of conduct the High Table group enforce.

Support comes from an excellent duplicitous Ian McShane as the manager of a hotel refuge whilst Laurence Fishburne brings his mouthy gravitas to underground crime lord, the Bowery King. The excellent Halle Berry is sadly wasted in a silly shoot-out sequence in Casablanca. The bland gun action is not helped by some CGI dogs - however, those waiting for some long overdue dog revenge will lap up the hounds’ killing spree.

What doesn’t work? Well, the action – as good as it is – is constant. And relentlessly so. Characterisation is kept to a minimum but expected I suppose and the much-lauded motorcycle chase is a poor facsimile of the superior one in The Villainess.

Also, and I’m not sure if it’s because I watched this recent video breaking down stunt choreography from an expert, Keanu was starting to look his age as the overly-choreographed fights seemed to have a few missed marks. A minor gripe I admit.

Whilst expanding the mythos Wick has also lost some of its initial Taken-style charm. The two films were never realistic per se but in Parabellum, murders in public at Grand Central Station and bus-loads of SWAT push it a little bit too far into fantasy. Heck, it even bordered on WANTED (2009) territory with its clan of shady assassins clinging to their historical rules of engagement.

All that said, Wick does what it sets out to do with no apologies. A few nice nods to The Matrix are a nice inside-joke - Neo, I mean Wick, is asked to make a choice by a monologue-ing mentor in a video-screened room and also asks for “Guns. Lots of guns”. And not to mention that Morpheus is in it of course!

And so, genre fans will lap up the explosions, punches, martial arts, gun-fu and the well-executed stunt work. But Wick goes beyond b-movie staples with a film that not only delivers on its action but is a feast for the more discerning viewer with its eye-wateringly impressive lighting, cinematography and production design.

★★★★

Michael Sales

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Midlands Movies Awards 2026 - Full nominations

By midlandsmovies • April 26, 2026

On Sunday 26th April Midlands Movies Editor Michael Sales & awards ceremony co-host Ed Stagg (BBC Radio) announced the nominations for the 2026 Midlands Movies Awards live from the Queen of Bradgate Vintage Cinema in Leicester. A big thanks was given to the entire Jury Panel of industry experts who gave up their precious time to watch a huge selection of creative projects and as always, had a difficult time choosing from the excellent number of films from the region. You can read the full list of nominations across all 16 categories below and watch our announcement videos here: Part 1 & Part 2 And please also check out our great awards partner Chrome Video Best Actress in a Leading Role Karendip Phull for Family Kate Bracken for The Lace Rachel Baker for Throwing Fruit Chloe Wade for How Long Sophie Bullock for Ma Prison Best Animated Film Of All the Things by Steff Lee Big Red by James Pyle Statue in the Garden by Qianhui Yu Butterfly by Jacob Christie Best Director Luke Worrall for The Waterline Lily Portman for Quiet Jack Richardson for Daniel’s Room Jonathan Hawes for Sorry We’re Closed Sophia Dall'Aglio for Man from Mars Best Documentary Nothing's Impossible by Jacob Thomas McClean A Birmingham Symphony by Jemma Saunders We Bring Light: Leicester's Diwali Legacy by Kieran Vyas The Sunshine Café by Jill Lampert Through the Viewfinder by William North Best Sound (Editing or Mixing) Neil Evans & his team for Artificial Insanity Alasdair Gretton for Dead on Distribution Deepanjali Patel for Earworm David Hamilton-Smith for The Pause Heidi Wilson for Of All The Things Best Actor in a Supporting Role Devon Junior for Lazar Tim Sparrow for Safety Net Shaiek Ahmed Rana for Family Luke Rollason for Quiet Peter Willoughby for A Story of Spring Best Visual & Special Effects Jake Wesley-Worrall for Soul Trader Steve Askey & team for The Correction Unit Nick Willett, Matt Burkey & Jayne Hyman for Black Goat JaqD SFX MUA, Mind Magic Studios and Ben Harker for Beyond the Witching Hour Pete Key, Jai Blanks and Jacob Christie for Countenance Best Cinematography Gary Rogers for The Pause Laurence Mason-Guetta for Sorry We’re Closed Ian Snape for Soul Trader Ash Connaughton for Daniel’s Room Duane Adamoli for Surfing (nominations continue below...)