Writing

During the early 2000s, Derek Kolstad struggled to gain recognition as a screenwriter, producing up to eight screenplays per year, none of which went into production. Although he continued to write, he stopped pursuing it as a full time career until his wife encouraged him to try again. Kolstad secured a manager and wrote 60 screenplays before finding success with the low-budget action films One in the Chamber (2012) and The Package (2013).^[29][30] Over four days in either 2012 or 2013, Kolstad wrote a spec script titled Scorn,^[31] the inspiration for which came from two "terrible revenge movies" he had watched. The script's story centered around the character John Wick, a long-retired hitman in his mid-60s to mid-70s who is forced back into his former life. John was modeled on actors such as Clint Eastwood and Paul Newman.^[6][32][33] The script included elements such as John's long-deceased wife, his elderly dog, the Continental, Charon, Winston, and the underworld gold coins; it had a kill count of 11 compared to the film's several dozen. John was portrayed as an underworld legend who had been absent for decades, causing younger criminals to dismiss tales of his deeds.^[34] Kolstad aimed to explore the character as "the worst man in existence" who finds and loses salvation through love and events that followed this.^[35] He had difficulty determining the incident that would lead to John's return, ultimately choosing his dog's murder over the cliché of the killing of the protagonist's wife and family. Kolstad focused his efforts on the first act, believing a solid opening would make later acts easier to write.^[36]

The draft was influenced by the variety of action films of which Kolstad was fond, including Aliens (1986), Predator (1987), and Die Hard (1988); and revenge films, westerns, and neo-noir films such as Miller's Crossing (1990).^{[lower-alpha 4]} Kolstad included black comedy because he found that levity added to the characters' humanity, drawing influence from silent comedy actors such as Buster Keaton, Harold Lloyd, Charlie Chaplin, and Roscoe Arbuckle; and his favorite animated television series, including Rick and Morty and SpongeBob SquarePants.^[39] After garnering feedback from family and agents, Kolstad made minor changes and the spec script was put out for sale.^[40]

Development

Chad Stahelski (pictured in 2014) and David Leitch (2018)

At the same time, producer Basil Iwanyk was developing films for Warner Bros. Pictures through his studio Thunder Road Films. Iwanyk was frustrated at not being involved beyond sourcing scripts; he wanted the autonomy to develop independent films so he could be more involved in the process.^[41] He focused on action films that could be made on relatively low budgets.^[42] Iwanyk read Kolstad's spec script, appreciating its subversive tone and emotional throughline, as well as the relatability and accessibility of a man seeking revenge after losing his wife, his dog, and his car; and his home being violated.^[33][42]

Kolstad received multiple offers for the script, but his agent advised him to consider the lowest bid from Iwanyk because Thunder Road Films was ready to start work immediately.^[30][43] The deal was completed in February 2013.^[44] Kolstad began rewrites alongside Iwanyk and producer Erica Lee over two months.^[33][44] Iwanyk originally envisioned older actors such as Eastwood (then 83-years-old) or Harrison Ford (71-years-old) as John but later opted for an experienced actor rather than an elderly one.^[6][33][42]

In April 2013, Iwanyk's friend was serving as Keanu Reeves's talent agent. Iwanyk shared the script after the agent expressed Reeves's interest in pursuing a new action project.^[44] Reeves was interested in the dynamics between the real world and the underworld, and the emotional connection to John's wife.^[45][46][47] The script was sent to multiple directors, many of whom suggested expanding John's family and having them killed to drive the plot, but Kolstad opposed this idea.^[44] Others were uninterested because the idea appeared to be a typical Reeves action film.^[48]

While Reeves was negotiating his involvement, he sent the script to Chad Stahelski and David Leitch, both of whom had worked with him as stunt coordinators and performers on the initial The Matrix trilogy of films and later projects, and had founded the action, design, and stunt company 87Eleven Productions.^{[lower-alpha 5]} He recommended them to choreograph or direct the action sequences, feeling their style matched the script's tone.^[52][53][54] Stahelski and Leitch were interested in the variety of action scenes, but they wanted to direct the film itself.^[53][55] Stahelski and Leitch gained Reeves's support after pitching him their vision of an assassin thriller with a realistic tone in an otherworldly setting, in which John was an urban legend.^{[lower-alpha 6]} Reeves said they impressed him with their intent to make each character memorable and thoughts on the theme of living a double life.^[33] In May, Reeves was confirmed for the lead role, and Stahelski and Leitch were to direct it.^[46][47][52]

For the next two months, Kolstad and Reeves spent weekends rewriting the script six times to fit Reeves's acting style. John was made younger, and Reeves, then 49-years-old, intended to portray him as a 35-year-old. Dialogue was trimmed to emphasize John's slick and tough persona; a five-page conversation between John and the priest was trimmed to John simply responding "Uh-huh".^[57][30] They decided not to depict the impossible task that earned John his freedom, believing they should never show his life before Helen's death.^[58]

Casting

Adrianne Palicki (pictured in 2013) and Willem Dafoe (2019)

John Wick's principal characters were cast in September and October 2013.^{[lower-alpha 7]} Casting focused on affordable actors who were available in the two-and-a-half weeks before filming began.^[63] The task was eased by filming in New York City, allowing the producers to secure local actors such as Ian McShane, who only had to be present to film their scenes without traveling long distances.^[64] Character actors who could vivify Kolstad's characters were preferred; despite little screentime, they were considered essential for providing details about John Wick's past and the underworld.^[53]

Kolstad named John Wick after his grandfather, and Helen was named for his grandmother.^[27][65] Keanu Reeves was paid $1–$2 million for his performance.^[66] Reeves's personal experience with bereavement, having lost his daughter in 1998 and his partner in 2001, helped him relate to John's emotional state.^[67][68] Describing the character, Reeves said:

"[John] thought [his old life] was something he would never go back to ... John thought he was stronger than he is, when really he'd been drawing that strength from his wife, Helen ... I always thought of it as being a kind of Old Testament revenge story. When someone takes the things he cherishes, violence erupts and John can't temper it."^[68]

Stahelski and Leitch prioritized themes of loss and humanity as fundamental aspects of John, wanting to avoid making him a cliché "badass" assassin. They had Reeves grow his hair and beard, and dressed him in stylish suits to create recognizable visual elements.^[68] Reeves underwent four months of training, including several hours per day in a gym, strict diet, and stretches, and learned choreography.^{[lower-alpha 8]} Despite his previous martial arts experience, the directors aimed to craft a unique style fitting for John, and had Reeves train in judo, Japanese jujutsu, Brazilian jiu-jitsu, and arnis, as well as undergoing tactical-gun training with the Los Angeles SWAT and Navy SEALs.^{[lower-alpha 9]} He also learned stunt driving skills, including how to drift a car while aiming a gun.^[68][73]

Michael Nyqvist described the relationship between Viggo and John as akin to a father and son, built on love and respect for John's prowess as an assassin.^[6] Nyqist trained in the Russian martial art sambo, reflecting the character's impoverished street-brawler origins, and partly based his performance on his Russian trainers.^[1][6][74] He generally played his character straight with some eccentricities.^[75] Kolstad described Alfie Allen's Iosef as "a dinner-theater version of his father," depicting a wealthy and spoiled youth who perceives himself as tough but lacks his father's strength.^[6][74] Allen, attracted to the challenge of speaking different languages and accents, immersed himself in Russian bathhouses in New York to refine his dialect. He faced difficulties, including the physical demands his character endured and the spontaneous additions of Russian dialogue to the script, requiring quick adaptation.^[76]

The character Ms. Perkins was originally conceived as a male figure until Adrianne Palicki was cast in the role.^[6][9] Palicki characterized the role as a cold, cunning, and ruthless assassin who derives pleasure from killing.^[10][77] Palicki trained in judo and jujitsu for a few months, and spent two weeks learning the choreography for her fight scene with Reeves.^{[lower-alpha 10]} Bridget Moynahan, who portrayed John's wife Helen, chose not to read the script in its entirety. Her decision was based on the desire to understand only as much about John as Helen would know, contributing to a more authentic portrayal of her character.^[6]

Kolstad depicted Ian McShane's Winston as a character who speaks sparingly but commands attention when he does, likening him to a titan in the realm of New York. McShane accepted the role based on his affinity for neo-noir films. John Leguizamo in his portrayal of Aurelio, drew inspiration from the character's stylish wardrobe, embodying a sense of confidence and swagger. Leguizamo explained, "I'm walking through the set and all of a sudden I start feeling a little cocky, like I'm somebody."^[6] Willem Dafoe described Marcus as a high-level assassin and father figure to John. He added traits to his aging character such as a scene in which Marcus makes juice because he reasoned the character would maintain his health to stay competitive with younger assassins.^[6][78]

Pre-production

Financial issues beset the production before and during filming; Iwanyk had limited assets compared to the major studios and he considered his backers unreliable. He said an investor failed to pay on time and that when he did, "he did things like children do, if he owed us $2.4 million he'd send us a check for $2,400 and go 'whoops! I messed up'".^[79] Iwanyk and his executives also lacked experience in film financing. He contemplated cancelling the project five days before the scheduled filming date before his lawyer advised that he would likely be sued into bankruptcy by those involved and their guild unions. Iwanyk twice deferred his own fees to cover costs and lent the costume designer his personal credit card for resources, saying he would at least earn air miles.^[80] The lack of financial security delayed filming by two weeks,^[81] which Iwanyk described as the most difficult and stressful weeks of his career; his family visited to ensure he was safe because he was not sleeping or eating.^[82] When financing was secured, it was less than the originally promised sum. Some principal cast made salary concessions; Reeves put his own money into the project, and Stahelski and Leitch modified scenes to keep the budget low.^[83] The majority of funding came from Michael Witherill of MJW Films, actor Eva Longoria, and DefyNite Films.^{[lower-alpha 11]}

New York City was chosen as the main filming location. Although filming there cost millions more than alternatives such as Baton Rouge, Chicago, and Detroit, Iwanyk said "if I shoot [John Wick] with the Brooklyn Bridge in the background, it feels like a big movie". Kolstad considered a city setting in a noir story to be its own character.^[75][89] Budget constraints meant some ideas were abandoned to prioritize financing for the location or departments such as art design and music deemed instrumental to creating the world of John Wick.^[75] Stahelski highlighted New York's visual verticality as well as areas like downtown Manhattan, which provided a subterranean atmosphere ideal for creating the mythological underworld setting they envisioned. There were also many restrictions because residents were resistant to mobile trailers used by cast and crew, car chases, and gunfire in their streets. Even on closed streets, the filmmakers had to adhere to speed limits, impacting the execution of car-chase sequences.^[70][75]

Design

Staheliski and Leitch drew on a broad amalgamation of their favorite films and directors for John Wick's visual style.^[90][91][92] Stahelski described the crime thriller Point Blank (1967) as a significant influence, as well as the classic visual composition of films from the period 1960–1990, including Le Cercle Rouge (1970) and The Return of the Pink Panther (1975)—a comedy in which hired killers pursue the central character.^{[lower-alpha 12]} They also drew on Akira Kurosawa's style of holding on the composition,^[50][53] John Woo's use of wide shots and multi-opponent combat in films such as The Killer (1989),^[91][93] and spaghetti westerns by Sergio Leone.^{[lower-alpha 13]} Stahelski referenced Eastwood's enigmatic portrayal in The Good, the Bad and the Ugly (1966), emphasizing the power of unspoken backstories. He noted, "we just give you some gold coins ... 'Where do the gold coins come from?' ... Have your imagination do some work there."^[92] The directors said the value of the gold coins was unimportant, comparing them to business cards that grant access to underworld services and inform the audience they are entering a different world.^[86][95] Further influences were drawn from the works of director Quentin Tarantino;^[50][91] graphic novels;^[71][94] and action films such as Police Story (1985), Armour of God, Lethal Weapon (both 1987), Die Hard (1988), and The Matrix (1999).^[96]

Stahelski and Leitch eschewed the style of rapid cuts showing different angles and close-up shots common in many contemporary action films, which they thought often led to confusing action sequences. They committed to lengthy, single takes with a wide view of the action, reserving cuts only for covering up mistakes.^{[lower-alpha 14]} This was also a practical decision—they had only enough budget for a single-camera setup, and no time for elaborate wire stunts and additional coverage footage that could be used in editing to hide mistakes.^[99][100] Iwanyk said if they had an extra $5–$10 million, they could have afforded a multi-camera setup and second-unit filming but that economic restrictions resulted in a better action film.^[101] The directors focused on practical stunts but used computer-generated imagery (CGI) when necessary to add gun-muzzle flashes and to complete a stunt in which John is struck by a car.^[50][70][75]

The settings were intended to be recognizable but distinct, contrasting the private, rural setting of John and Helen—which Leitch described as "organic and warm; very cinéma vérité real"—with the hyper-real underworld where everything is exaggerated. Production designer Dan Leigh emphasized the visual transformation of the underworld, stating that it transcends reality with unique lighting, atmospheric textures, and unexpected elements scattered throughout.^[102] Kolstad did not describe the underworld rules and settings in detail, which gave the designers considerable scope. Iwanyk said the lack of detail prevented them from focusing too much on worldbuilding.^[102][103] Luca Mosca led costume design, which focused on stylish suits with some functionality over practical combat outfits to provide a high-class aesthetic to the underworld. Mosca utilized variant shades of black in the designs and made them form-fitting and sleek to fit the immaculate nature of the underworld.^[6][50][70] John's suit took inspiration from 1970s-style three-piece suits worn by film stars such as Lee Marvin and Steve McQueen.^[75] In the film, John's car is identified as a 1969 Boss 429 Mustang. However, due to the limited production of only 1,359 Boss 429s and the need for five cars for filming, which would all be destroyed, using the authentic model was too expensive. Instead, Ford Mustang Mach 1 models were substituted.^[3][4]

John's combat style was developed for a previous film by supervising stunt coordinator J. J. Perry, along with contributions from Stahelski and 87Eleven Productions associates John Valera, Jon Eusebio, Danny Hernandez, Guillermo Grispo, Eric Brown, the Machado brothers, Jackson Spidell, and armorer Taran Butler. The combat style blends grappling martial arts with gun combat and a focus on restricting limbs with the left hand, leaving the right hand free for gun action.^[1][104] Combat training, which took place at 87Eleven's facility, included an obstacle course to prepare for the Wick house invasion.^[50][68]

Filming

The Beaver Building (pictured in 2011) appears as the exterior of the Continental hotel

Principal photography began on October 7, 2013, on a $20–$30 million budget, in and around New York City.^{[62][105][106][lower-alpha 15]} Filming was arduous, with stresses over the schedule and budget. There was reduced daylight for associated scenes and extensive night-time filming in very cold weather.^[75][107] The initial five days of filming took place in Mill Neck village with scenes at John's house.^{[62][108][109]} Iwanyk recalled thinking John Wick would not work after watching the crew lighting a stuffed dog stand-in and several scenes of Reeves brooding.^[110] He changed his mind watching John's interaction with the police officer after killing a hitman squad, an absurd situation played with earnestness.^[111]

Cinematographer Jonathan Sela intended to use anamorphic lenses for scenes depicting John's domestic life to create a soft, clean image, and spherical lenses for his return to the underworld to create a grittier, darker, and sharper aesthetic. Once filming began, however, he opted to use the lenses for, respectively, day-and-night filming, and contrast the use of a static camera position for the early segments and dynamic movements for the remainder of the film.^[100] He lit scenes in a gothic manner to make the underworld appear with a mix of American and European designs, and illuminated characters in a manner that preserved the mystery of whether they were allies or adversaries to John.^[112]

Scenes at The Red Circle nightclub were filmed at Surrogate's Courthouse (exterior), Edison Theatre (club interior), and Aire Ancient Baths (below-ground spa).^[113][114] The production design added red-and-blue lighting and misted windows to the spa. Sela said they wanted it to look like a part of the underground but they were constrained by the budget; he said this sometimes worked in their favor because it forced them to develop creative solutions.^[115] Perry was hired to choreograph the nightclub sequence at the last minute because Stahelski was occupied filming the final confrontation between John and Viggo.^[116] Perry, who portrays four characters killed by John in The Red Circle, was only told to begin in the nightclub and move up to the top level.^[117] Despite the choreography, improvisation based on spontaneous additions often took place during filming.^[115] Reeves's training allowed him to rapidly adapt to the changes and perform many of his own stunts, so filming often operated quickly. Iwanyk said they could capture as much footage in an afternoon as some others could over three days.^{[lower-alpha 16]}

The combat sequences adhered strictly to the number of bullets available in John's weapons, and scenes were crafted to include segments of John reloading at realistic intervals. Any alterations, such as the introduction of additional enemies, prompted corresponding adjustments to the bullet count, necessitating the relocation of reloading segments.^[118] Challenges arose during the club sequence due to incorrect gear acquisitions, including a holster that impeded Reeves's ability to draw his gun and the use of a silencer attachment that proved impractical. Minor timing issues in scenes at the spa and the club's upper floor posed difficulties, and insufficient footage to conceal the inconsistencies led to alterations in choreography and scenes to more clearly establish character locations.^[119] Reeves was also ill; according to Iwanyk, he would vomit between takes then insist on continuing filming.^[120] The film's insurers refused to approve Reeves performing a fall from the club's upper floor; Spidell stood in for falls and other hard impacts.^[121]

The fight scene between John and Viggo posed challenges during its filming over five nights at Brooklyn Navy Yard.^{[53][73][114]} The temperature was regularly 36 °F (2 °C) and the production was prohibited from using artificial rain on one evening because temperatures dropped too low. Reeves also refused to wear a wetsuit to help prevent hypothermia.^[53] Iwanyk thought the scene was an ill-fitting end to the film and would not fare well with audiences because John was fighting an older man. Additionally, the directors had initially planned for a more elaborate vehicle sequence involving several cars, but only two vehicles arrived.^[122]

The Beaver Building served as the location for exterior scenes at The Continental, and interior scenes were filmed at various buildings across Manhattan and Brooklyn, including the Cunard Building, Hotel Wolcott, and a bank vault in the Financial District;^[114][123] Marble was glued to its surfaces to make it appear expensive.^[123] Exterior scenes set at Viggo's headquarters were filmed at the Maritime Exchange Building and on the roof of ModernHaus SoHo on Grand Street.^[70][114] Filming also took place at Calvary Cemetery,^[124] a gas station in Upper Nyack,^[125] Republic Airport,^[126] Manhattan Bridge, Schaefer Landing, and Bethesda Terrace and Fountain.^[114] The church scene was conceived as a bank heist but scouts had difficulty finding a suitable location. Ultimately, directors Stahelski and Leitch opted for a church setting, considering it an interesting hideout.^[53][75] Interior scenes were filmed at St. Francis Xavier Church, while the exterior combines the Williamsburgh Savings Bank Building in New York and the Immanuel Presbyterian Church in Los Angeles.^{[114][127][128]}

Filming concluded on December 20, 2013, after nine weeks.^[129] The directors described it as a difficult learning experience that included many mistakes, and stretched the limits of the budget and schedule, but was ultimately successful.^[78] Kolstad lamented the loss of his favorite scene due to scheduling, in which two men at Aurelio's garage see John's car, recognize it, and promptly vacate the premises.^[130]

Post-production

John Wick entered post-production on January 10, 2014.^[84] Iwanyk characterized this phase as challenging, given the prevailing skepticism about the film's potential success, and with most of the principal cast and crew having already transitioned to other projects.^[131]

Editor Elísabet Ronaldsdóttir was mainly known for her work on low-budget independent drama films but her shared dislike for close-up action shots won over the directors.^[132] There was no budget for reshoots and no coverage material so she had to work with the available footage.^[131] Iwanyk disliked an early, longer cut because the excessive action made the experience numbing and there were too many establishing shots of people walking or driving.^[133] Ronaldsdóttir edited the film substantially to reduce the runtime to 101 minutes; this version was more positively received.^[133][134]

Stahelski was unhappy with the removal of some scenes but Ronaldsdóttir said they generally removed repetitiveness and shortened action scenes to focus on action and spend less time on John's mourning.^[135] John's fight with Ms. Perkins was trimmed to avoid depicting excessive violence against women by a man.^[65] Ronaldsdóttir, expressing no regret for the cuts, highlighted her enjoyment in trimming dialogue. She emphasized that, while the written words may be perfect on the page, much of it becomes redundant when brought to life by actors with props, sets, and lighting.^[136] The directors found balancing the tone with the exaggerated action to be the most difficult part of the production. Stahelski wanted the action to be an integral continuation of the story rather than just a set piece, while Leitch emphasized the delicate balance needed to avoid being too cheesy, serious, funny, or action-oriented.^{[lower-alpha 17]}

John Wick was shown to a few of Iwanyk's close associates, who gave a tepid response. A public test screening took place in Orange County, California; Iwanyk said he knew it was well received when the audience loudly laughed after the scene in which Aurelio tells Viggo his son has upset John and Viggo replies "oh".^[137] The response was positive enough they held no more test screenings.^[138] The death of John's dog remained a point of contention in post-production for Iwanyk, who believed it would alienate audiences and did not justify the number of deaths in response, but Kolstad and Reeves lobbied to retain it.^{[30][71][139]} Stahelski recounted Reeves telling him:

You guys wanted to make a hard-core action movie, right? You wanted to do something genre, outside the box, right? So what's wrong? ... So we went back and adjusted our attitude to being unapologetic, and we just went, "John Wick kills 80 guys because of a puppy. Fuck you, we're done."^[30][139]

Test audiences were supportive of John avenging his puppy.^{[30][71][139]} Despite Stahelski's and Leitch's collaboration, the Directors Guild of America refused to co-credit them as directors due to internal rules, and Leitch was credited as a producer.^[1][2]

Music

Tyler Bates and Joel J. Richard composed the score. Stahelski and Leitch requested a "fun, raw, aggressive, unorthodox" score that reflected John's connection to his wife and his hitman past. They also wanted a clear difference between the music in each action sequence. Bates and Richard used a separate tone for the underscore that would allow it to move into the score's "more rocking aspects". Bates said they tried to understand John's thought process and establish the essence of his story; they began writing with the opening scene, which initially featured quicker transitions between John's mourning and the action sequence at the film's denouement.^[140] John Wick's soundtrack also includes songs such as "Killing Strangers" by Marilyn Manson, "The Red Circle" by Le Castle Vania, "Evil Man Blues" by The Candy Shop Boys, "In My Mind" by M86 & Susie Q, and "Who You Talkin' To Man" by Ciscandra Nostalghia.^{[140][141][142]} Ronaldsdóttir suggested the use of "Think" by Kaleida.^[143]

Distribution and marketing

Keanu Reeves (in 2014) promoting John Wick at Fantastic Fest in Austin, Texas

By August 2014, John Wick had no secured distributor.^[144][145] Industry professionals blamed the lack of interest on the film's untested directors, and Iwanyk's relative inexperience in independent film production. Additionally, Reeves's recent films, such as 47 Ronin and Man of Tai Chi (both 2013), had performed poorly, even in countries where he was expected to have a strong following, such as China and Japan.^[146] Despite having secured strong presales in certain countries, Iwanyk said significant territories were not showing interest.^[79]

A screening arranged for studio acquisition executives went poorly; one viewer walked out shortly after it started. Lionsgate Films emerged as the sole bidder, offering terms that included no upfront payment and a minimal release commitment, which Iwanyk interpreted as meaning John Wick would go straight to home video.^[144][145] However, Lionsgate executives Jason Constantine and Tim Palen championed John Wick, and set an October release date through its subsidiary Summit Entertainment.^{[lower-alpha 18]} The John Wick title came late in production; dissatisfied with the original title Scorn, Reeves regularly referred to the film as John Wick in interviews, which Lionsgate executives equated to "seven million dollars in free press".^[152]

A trailer created by Palen was well received, as were pre-release screenings at the 2014 Austin Film Festival and Fantastic Fest.^[138] Audience demand at Fantastic Fest led to two additional screenings.^[153][154] In the week leading up to its release, John Wick was screened at no cost to audiences in 42 cities across the United States.^[155] Box office analyst Scott Mendelson wrote Lionsgate's marketing campaign had taken a film with little audience awareness and generated interest by turning a "theoretical B-movie action pick-up into something of an A-level event... [and] a coronation for its iconic star [Reeves]".^[156] According to Lionsgate executives, audiences had a favorable opinion of Reeves because of his candid nature in interviews regarding his personal and professional successes and failures.^[157] In October, Lionsgate announced John Wick would play in IMAX theaters, which was considered a superior theatrical experience and further raised the film's profile.^{[156][158][159]} Even so, expectations for John Wick were low due to Reeves's recent box-office failures and the film's short promotion cycle.^{[lower-alpha 19]}

As a promotional tie-in, the first-person shooter game Payday 2 (2013) added John Wick as a playable character in the week leading up to the film's release. Free copies of the game were given to people who purchased tickets for the film early via online ticket retailer Fandango.^{[164][165][166]} Variety praised the idea for targeting the same male audience as John Wick without the cost of making a full game based on it.^[165]

Box office

John Wick was premiered at Regal Union Square Theater in New York City on October 13, 2014; Reeves was accompanied by Andy, the puppy that portrays John's dog.^[97][167] The event was hosted in partnership with watch company Carl F. Bucherer.^[168]

John Wick was released in the United States and Canada on October 24.^[169] During its opening weekend, the film grossed $14.4 million across 2,589 theaters—an average of $5,568 per theater,^[157][169] making it the number-two film of the weekend behind the debut of Ouija ($19.9 million) and ahead of Fury ($13.3 million), which was in its second weekend.^[170] The success of John Wick was a surprise, nearly doubling analysts' low expectations and pre-release estimates of $7–$10 million, and over-performing across 347 IMAX theaters with $2.5 million, accounting for 18% of its total box-office take.^[157][171] The film primarily drew a male audience, and approximately 77% of the viewers were over 25 years old.^[171][156] John Wick fell to number six in its second weekend with a gross of $8 million, and number eight in its third with $4.1 million. It left the top-ten highest-grossing films by its fourth weekend with a gross of $2.2 million.^{[169][172][173]} John Wick left theaters by January 22, 2015, with a total box-office take of $43 million, making it the 79th-highest-grossing film of the year.^[169][174]

Outside the U.S. and Canada, John Wick is estimated to have grossed a further $43 million, with its highest grosses coming from Germany ($3.7 million), France ($3.2 million), Australia ($2.8 million), Taiwan ($2.6 million), Russia ($2.59 million), the United Kingdom ($2.4 million), and Japan ($2.3 million).^[175][176] This made it the 114th-highest-grossing film of the year outside of the U.S. and Canada.^[177] Worldwide, John Wick grossed an estimated $86 million, making it the 89th-highest-grossing film of 2014.^{[178][lower-alpha 20]}

Critical response

John Wick received generally positive reviews.^{[158][179][180]} On the website Rotten Tomatoes, the film has an 86% approval rating from the aggregated reviews of 219 critics and an average score of 6.9/10. The consensus reads; "Stylish, thrilling, and giddily kinetic, John Wick serves as a satisfying return to action for Keanu Reeves – and what looks like it could be the first of a franchise".^[181] The film has a score of 68 out of 100 on Metacritic based on 40 critics, indicating "generally favorable reviews".^[182] Audiences polled by CinemaScore gave the film an average grade of "B" on an A+-to-F scale.^[179][183]

Critics, including Peter Travers and Stephanie Zacharek, praised Reeves's performance, describing it as a return to form.^{[lower-alpha 21]} Richard Corliss, among others, said it was a fitting role for the actor that benefits from his stoic, taciturn demeanor for a character who conveys intent through actions. Bilge Ebiri said John Wick would have been a typical revenge story with any other actor but the "ethereal and ageless" Reeves makes it "mythic".^{[lower-alpha 22]} The Atlantic and The New York Times praised Reeves for being able to suggest depths to his character and portray a physical charisma while maintaining a relatively blank expression.^{[lower-alpha 23]} Others said his believable physicality and athleticism enhances the many combat sequences and long single takes.^{[lower-alpha 24]} Peter Bradshaw of The Guardian, however, wrote Reeves's deadpan style could only work when contrasted with humorous dialogue, and considered John Wick to be humorless.^[189][190] Praise was also given to the main supporting cast, particularly McShane and Nyqvist, though The Atlantic believed the supporting cast were underused.^{[lower-alpha 25]}

The directors' decades of experience in stunt work was seen as a major benefit to the action sequences, which Stephanie Zacharek described as among the "most beautifully choreographed" set-pieces in an American action film for a long time.^{[lower-alpha 26]} Reviews commended the fluidity of the action sequences and the skill displayed by the performers. They considered the choreography to be inventive, opting for a straightforward and impactful style over slow-motion effects, resulting in heightened shock value. The action scenes were lauded for their adeptness, with their ruthless and effective nature mirroring the demeanor of the film's central character. Some publications highlighted the film's deliberate avoidance of shaky camera movements and quick editing in favor of long takes that help immerse the audience in the sleek choreography, which differentiated John Wick from its peers.^{[lower-alpha 27]} Variety said the large number of equally impressive action sequences compensated for the weak script.^[27]

While critics generally described the narrative as a self-serious, cliché-filled, and predictable action script with a stylistic approach, they said it offered a novel setting, creating intrigue related to John's past and the mythology that developed around the criminal underworld.^{[lower-alpha 28]} The mythology in John Wick was identified as a key aspect that differentiated it from other action movies, particularly the codes and rules that govern the criminals, and the Continental hotel, which provided a reprieve to the otherwise non-stop violence in the rest of the film.^{[lower-alpha 29]} Entertainment Weekly praised the rich and stylish world-building, and The Guardian's Jordan Hoffman hoped for future films to explore this setting, even without the John Wick characters.^[5][193]

Accolades

At the 2014 Golden Schmoes Awards, John Wick was named the Biggest Surprise of the Year, and was nominated for Most Underrated Movie and Coolest Character (Wick).^[197] Reeves received a nomination for the Razzie Redeemer Award at the 35th Golden Raspberry Awards.^[198] At the 2015 Taurus World Stunt Awards, John Wick won the award for Best Fight for the scene in which Wick defends his home against Viggo's hitmen. The award was presented to Reeves's stunt double Jackson Spidell; stunt coordinators Darrin Prescott and Jonathan Eusebio; fight coordinator Jon Valera; and stunt performers Carlos Lopez, Daniel Hernandez, Dean Neistat, Justin Yu, Akos Schenek, and Luis Moco. Prescott was also nominated for Best Stunt Coordinator and/or 2nd Unit Direction.^[199] At the Golden Trailer Awards, which recognizes marketing campaigns, the film's poster was named Best Thriller Poster, and was nominated for Best Action Trailer and Best Action Poster.^[200][201] Dafoe received the Body of Work award at the San Diego Film Critics Society Awards 2014.^{[202][lower-alpha 30]}

Home media

John Wick was released as a digital download in January 2015.^[203] This was followed by a DVD and Blu-ray release in February.^[204][205] The physical release includes a commentary track by Stahelski and Leitch; and six brief featurettes about the training and design of the stunt work, the making of the film, Stahelski's and Leitch's history as stunt coordinators, aspects of the film's criminal underworld, the nightclub action sequence, and the influence of New York City on John Wick.^[206] The home-media release was the second-best-selling home release of February behind Dracula Untold (2014), and the number-one rental during its release week. About 50% of its sales were on Blu-ray.^[207] A 4K Ultra HD Blu-ray version was released in 2017, containing all of the previously released features.^[208] The digital release had grossed about $20 million by May 2015, and the physical release about $44 million by 2022.^[209][210] Varèse Sarabande released the film's music soundtrack in October 2014.^[142]

Other media

John Wick Chronicles (2017) is a virtual reality, first-person shooter video game based on the film for HTC Vive and Steam VR, allowing users to play as John while assassinating powerful targets.^{[211][212][213]} John Wick Hex (2019) is a tactical, third-person video game that serves as a prequel to the film; the game involves John rescuing Winston and Charon.^[214][215] The video game Fortnite added John Wick as a playable character in 2019.^[216] A five-issue comic book series based on the franchise was released between September 2017 and January 2018. The series, which was written by Greg Pak, is a prequel to John Wick, depicting John's integration into the assassin underworld.^{[217][218][219]}

Thematic analysis

According to professor Ann C. Hall, John Wick is a postmodern epic hero in a contemporary epic universe. She said the John Wick franchise satisfies five of the six requirements to be classified as an epic: the imposing hero is of national or international importance and legendary significance; the setting is vast; the hero conducts great deeds of valor or superhuman courage; the tale involves powerful forces; and characters speak in stylized ways. Hall believed it fails the requirement of objectivity because John is the protagonist and is generally presented positively.^[220] Hall links the film's narrative to elements of Samurai lore, Russian folktales, and historical epics from Christianity, ancient Greece, Rome and the Mediterranean.^[221] Wayne Wong wrote Stahelski and Reeves have collaborated throughout their careers with choreographers familiar with action in Kung fu films, such as Yuen Woo-ping and Tiger Chen, and that John Wick can be seen as a synthesis of Eastern and Western action styles.^[222]

Professor Scott T. Alison and Doctor George R. Goethal said while John has faults and is a ruthless killer, he does not have to objectively do good and his heroism is retaining his integrity against the unjust, violent criminal underworld.^[223] John's puppy serves as a connection to his wife and demonstrates his soft side, and Iosef killing it unites the audience against him and anyone obstructing John's quest for revenge.^[224] Owen R. Horton described John as "one of the deadliest and most brutal heroes in modern action cinema", but said unlike other contemporary action heroes, John regularly retreats to his soft side, which is defined by his love for his wife. This, Horton says, represents the conflicting multiplicities of manhood.^[225][226] According to critic Emanuel Levy, the central question of John Wick is whether John is a bad person who became good or a good person who has done bad things; and whether he can truly change or be redeemed.^[33] Kolstad said even though John had left his former life behind, he remains in the outskirts of the city, sees a reminder of it every time he leaves his home, and does not truly escape its shadow.^[58]

Hall also analyzed John from the perspective of Reeves's personal life. She said the character and hero share many characteristics, and that in the vein of epic heroes, Reeves faced obstacles in his career but persisted with acting despite criticism; he faced personal trials of courage and loss that inspire his character and make audiences sympathetic to him.^[227] Both professor Lisa Coulthard and author Lindsay Steenberg said Reeves's and John's personalities are almost interchangeable, sharing a similar mixed-race background, personal tragedies, professionalism, and an inherent likeability—all of which add authenticity to the character and film.^[228] Professor Sarah Thomas wrote that while The Matrix was a defining role for Reeves, it was not originally tailored specifically for him.^[229] It was not until the 2010s that Reeves effectively established his own unique star persona, partly influenced by online discussions about his public image, which generated an almost mythical and malleable perception of Reeves.^[230] Thomas argued that because the script for John Wick was reworked with Reeves in mind, his public image played a significant role in shaping and interpreting the character. This is in contrast to his role in The Matrix, where the character's meaning would likely remain unchanged with a different actor in the part.^[229] According to Thomas, this alignment between Reeves's authenticity and image and the character of John Wick made it a perfect fit, as Reeves's persona filled gaps in the film's narrative.^[231]

Retrospective assessments

Analysts considered John Wick's success to be an example of a cult sleeper hit driven by strong word-of-mouth, and a positive critical reception from critics and audiences.^{[lower-alpha 31]} Some publications, such as Empire and Time Out, and critics including Stephanie Zacharek have listed John Wick among the best action films.^{[lower-alpha 32]} Others, such as IGN and Syfy listed John Wick among the best films in Reeves's filmography.^{[251][252][253]}

Cultural influence

Commentary by Rolling Stone and Collider said that before John Wick, the action genre had been in decline. They wrote that popular film series such as Die Hard and Rambo had been replaced with "forgettable" fare that heavily relied on CGI, shaky camera movements, and rapid edits, or a focus on larger-than-life superhuman bouts in superhero films.^{[lower-alpha 33]} In contrast, publications described John Wick as a groundbreaking entry in the action genre, in part because of its extensively choreographed sequences and practical effects that were filmed in long takes.^{[lower-alpha 34]} Author Ray Morton said the film revitalized the action genre by combining choreography, video-game style visuals, and explicit gore and violence.^[256]

John Wick's popularity grew following its release on home video and streaming services, increasing support for a sequel,^{[lower-alpha 35]} which in turn led to a financially and critically successful action film series,^{[lower-alpha 36]} and gave Reeves his most-mainstream success since The Matrix films.^[67] Rolling Stone named it "The Last Great American Action-Movie Franchise", transforming what would normally be a B-movie into an "action-cinema connoisseur's dream come true".^{[lower-alpha 37]} The mythology involved in the film's criminal underworld is also seen as contributing to the film's success.^[255] Iwanyk said the filmmakers had no idea during the production how evocative the underworld would be with audiences.^[58] Just as John Wick drew inspiration from the history of action cinema, it has subsequently been regarded as a significant influence on numerous action films that followed. These include Atomic Blonde (2017), Guns Akimbo (2019), and Extraction (2020), as well as several 2021 releases such as Gunpowder Milkshake, Jolt, The Protégé, and Nobody; the latter was written by Kolstad and produced by Leitch.^[255][265]

Far Out described John as a groundbreaking role for Reeves, the character's pragmatic attitude, slick appearance, and relatable revenge story serving to revive the actor's career.^{[254][255][266]} MovieWeb wrote that John's in-narrative status as a legendary character before the film begins was a "genius" decision that adds depth to the character and his universe while the film keeps him sympathetic through the loss of his wife and puppy. The publication said Reeves's iconic status contributed to the character's popularity, and that his dedication to performing many of his own stunts and learning combat techniques led to similar approaches from other actors, such as Charlize Theron in Atomic Blonde and Bob Odenkirk in Nobody.^[255] John Wick's success made Stahelski and Leitch in-demand action directors; Stahelski directed the film's sequels while Leitch moved outside the series to direct films such as Atomic Blonde, Deadpool 2 (2018), Hobbs & Shaw (2019), and Bullet Train (2022).^[267][268]

Citations

Works cited

• Coulthard, Lisa; Steenberg, Lindsay (2022). "Red Circle of Revenge: Anatomy of the Fight Sequence in John Wick". The Worlds Of John Wick: The Year's Work At The Continental Hotel. Bloomington, Indiana: Indiana University Press. ISBN 978-0-253-06241-3. OCLC 1298389868.
• Gross, Edward; Altman, Mark A. (2022). They Shouldn't Have Killed His Dog – The Complete Uncensored Ass-Kicking Oral History Of John Wick, Gun Fu, And The New Age Of Action. New York City, New York: St. Martin's Press. ISBN 978-1-250-27843-2. OCLC 1263340546.
• Hall, Ann C. (2022). "John Wick: Keanu Reeves's Epic Adventure". Heroism Science. Richmond, Virginia: University of Richmond. 7 (2). doi:10.26736/hs.2022.01.08.
• Horton, Owen R. (2022). "Masculinity, Isolation, and Revenge: John Wick's Liminal Body". The Worlds Of John Wick: The Year's Work At The Continental Hotel. Bloomington, Indiana: Indiana University Press. ISBN 978-0-253-06241-3. OCLC 1298389868.
• Thomas, Sarah (2022). "Keanu Reeves, John Wick, And The Myths And Tensions Between Star Brands And Franchise Properties". Celebrity Studies. Abingdon-on-Thames, Oxfordshire: Routledge. 13 (2): 244–258. doi:10.1080/19392397.2022.2063405.
• Wong, Wayne (2022). "Killing in Equanimity: Theorizing John Wick's Action Aesthetics". The Worlds Of John Wick: The Year's Work At The Continental Hotel. Bloomington, Indiana: Indiana University Press. ISBN 978-0-253-06241-3. OCLC 1298389868.