Sometimes, a single film or franchise makes such a tremendous impact with such a simple concept that the rest of the medium can’t help but play copycat. The action movie genre has always been a game of following the leader, but is it time for the most recent trend to start dying off?
In 2014,John Wickhit the big screen with a lethal cocktail of extremelyefficient storytelling, perfect world-building, and fast-paced action. It was an instant hit, and it managed to take elements from a ton of other examples while feeling entirely unique. Since then, there have been a lot of works trying to recapture the magic with vastly different results.
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Chad Stahelski and Derek Kolstad’s originalJohn Wickhas since been followed by two sequels with a third on the way. A fifth is also in development with some questions hanging over the release date. The franchise will be even further bolstered by the addition of a spin-off calledBallerinastarring Ana de Armas. A prequel TV series is also set topremiere on Peacock next year, depicting the earlier life of Winston before he attained his consecrated hotel. There have also been murmurings about aspin-off for Halle Berry’s characterSofia, though that one seems less likely. That’s a sprawling franchise to develop over just a decade, focused almost entirely on the single concept of Keanu Reeves seeking vengeance. Not to be reductive, but it’s somewhat impressive that a concept that sounds perfect for a million 80s shoot-em-ups could spawn one of the most powerful action franchises ever. However, the official sequels and spin-offs barely cover the impact that the 2014 hit had on the genre.
Films that are “likeJohn Wick, but…” are effectively their own genre at this point. Some comparisons are fairer than others, but there are a ton of movies that are a slight deviation away from joining the franchise. The central writer anddirector of the franchisehave brought their talents elsewhere. Kolstad went on to writeNobodylast year, which was likeJohn Wick,but the central assassin’s family was still alive, leading him to become a suburban dad before returning to the fold. Uncredited co-director David Leitch directedAtomic Blonde, which brought a Cold War espionage twist to the go-to action structure. Leitch then doubled down with this year’sBullet Train, which is a more comedic take on the concept. Even beyond formerJohn Wickalumni, countless other features earn the comparison. FromGunpowder MilkshaketoKate,The Gray MantoDay Shift, the idea has spread far beyond its franchise.
The good films that borrowWick’s signature style add something to the equation. Something more than just a new big-name performer in the starring role. The key way in which these films are inspired byWickis in the action. The stories have a bit more variety to them, but the combat engagements could be made into a colorful compilation and a new viewer could believe they’re watching a single film. The spaghetti western bloody shootout scene of the 60s and 70s gave way to the comical piles offaceless goons in the 80s. That gave way to the more martial arts-inspiredMatrix-style shootouts of the 90s. The fast-paced gun fu shootout is the go-to modern action scene, taking notes from everything that came before it and recombining it into a new form. A 90s blockbuster was more likely to feature a single punch or gunshot. Now, even superhero blockbusters likeDeadpoolorBirds of Preychoose theJohn Wickmethod.
Hype for theWickfranchise hasn’t gone away, but it isn’t where it used to be. Oversaturation from so many sequels and potential spin-offs makes each release feel a bit less special. In addition, one of the great things about the franchise was its efficient world-building. It didn’t need to say much to establish the bigger things going on behind the scenes. Prequels threaten the simplicity of the franchiseand run the risk ofovercomplicating things. It’s hard for the original model to be special in a world of other works doing a very similar thing. This is an issue often faced by genre cinema. If something executes an idea first, then a ton of other projects do the same, and the original starts to feel somehow less unique.
Like the eponymous assassin, it’s very possible that theJohn Wickmodel can’t die. It’s a new default state for action cinema, and that won’t change until a new one comes along. The question is whether the examples outside the franchise can continue to succeed. Many of the films that heavily tied themselves toWickfailed to capture the public consciousness. Most recently, David Leitch’sBullet Trainwas a mild disappointment at the box officeand with the critics. It’s time for the innovators to do what they do best, and find the next evolution in action cinema, before diminishing returns suck the fun fromJohn Wick.
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