Review: John Wick Gets Even More Stylish in Fourth Episode

US actor Keanu Reeves arrives for the Los Angeles Premiere of "John Wick: Chapter 4" at the TCL Chinese Theatre in Hollywood, California, on March 20, 2023. (AFP)
US actor Keanu Reeves arrives for the Los Angeles Premiere of "John Wick: Chapter 4" at the TCL Chinese Theatre in Hollywood, California, on March 20, 2023. (AFP)
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Review: John Wick Gets Even More Stylish in Fourth Episode

US actor Keanu Reeves arrives for the Los Angeles Premiere of "John Wick: Chapter 4" at the TCL Chinese Theatre in Hollywood, California, on March 20, 2023. (AFP)
US actor Keanu Reeves arrives for the Los Angeles Premiere of "John Wick: Chapter 4" at the TCL Chinese Theatre in Hollywood, California, on March 20, 2023. (AFP)

A trip to Paris should be on everyone’s bucket list, even John Wick. The Eiffel Tower, the Arc de Triomphe, the Louvre — what better way to refresh your soul, even as you kick everyone else’s bucket?

The un-retired assassin does indeed dive into the City of Lights in the inventive and thrilling “John Wick: Chapter 4” a sequel which elevates and expands the franchise. The fourth installment is more stylish, more elegant and more bonkers — kind of like Paris itself.

When we last saw Wick, he was half dead in the gutter after being shot and tumbling several stories off the Hotel Continental in New York. He was on the blacklist with a $14 million price on his head. (Inflation has even hit this franchise: The bounty swells to $40 million by the end of part four.)

Wick, as always played with monosyllabic and brooding intensity by Keanu Reeves, leaves his customary trail of death, but there’s a shift here. So often the prey in the previous movies, Wick is on the offense in the fourth, taking his demands directly to The High Table, the group of shadowy crime lords that keep order.

This time, the Table’s sadistic frontman is a dandy called the Marquis, played with coiled menace by Bill Skarsgård, who spouts things like: “Second chances are the refuge of men who fail.” But he’s a secret coward, so feel free to boo loudly.

The nine-fingered Wick wants to end his nightmare, naturally, by killing everyone. His too-cool frenemy, Ian McShane’s Winston, challenges him to think differently: “Have you learned nothing?” he asks the man who, to be honest, he shot in the last movie. “You’ll run out of bullets before they run out of heads.”

Returning writer Shay Hatten, along with co-writer Michael Finch, have come up with a possible solution for Wick: Win an old-fashioned duel with the Marquis. Win and be free, lose and be buried.

Not so fast, of course. Along the way, Wick must somehow handle the blind martial arts master Caine, played by Donnie Yen, bringing humor and verve to a fighter who is tasked with either slaying his one-time friend or have his daughter killed.

There’s also Killa, a jumbo-sized card shark played by martial arts star Scott Adkins, and The Tracker, a very talented bounty hunter played by Shamier Anderson. Don’t forget a swarm of Paris-based amateur bounty-hunters and armored ninjas who seem as plentiful as the city’s baguettes.

All the touches you expect from a Wick flick are here — a cool dog, hand-to-hand combat amid glass display cases, candles and Christian iconography, galloping horses, the screech of metal swords and a new way to hurt someone, in this case, a single playing card. We visit Germany, Japan and end in France, even going to a disused subway platform.

Returning director Chad Stahelski loves combining neon with gloom and now has the budget to rent out space in the Louvre. Of the 14 action sequences — yes, 14 — a few are truly mind-blowing, like a fight in the middle of the traffic circle around the Arc de Triomphe and a drone capturing a complicated set piece in a building involving what is being called a dragon’s breath shotgun. Repeating that last bit: dragon’s breath shotgun.

If there was a bit of a slog through would-be assassins in “John Wick: Chapter 3 — Parabellum” — you know, shoot, stab, repeat — there is none here. One sequence on a set of outdoor stairs in Paris is almost riotously funny as knives and guns blast away, while the filmmakers add water and fire to a nightclub rave scene that puts clueless dancers next to axe-throwing murderers.

A shout-out to costume designer Paco Delgado, who has outfitted the baddie gunmen in light-colored three-piece suits and combat boots, and the executive baddies in fitted elegance with extravagant cravat-style ties. One of the film’s saddest parts is saying goodbye to Lance Reddick, who played Continental Hotel concierge Charon and died on the eve of the movie’s debut.

How does this all end? Actually, on something of a deflating note. Earlier in the film, Wick’s Japan-based friend Shimazu — played awesomely by Hiroyuki Sanada — had asked a question that eternally hangs over this franchise: “Have you given any thought to how this ends?”

This chapter ends in death, of course. But that’s also how it lives.



Perry Bamonte, Keyboardist and Guitarist for The Cure, Dies at 65

Perry Bamonte of The Cure performs at North Island Credit Union Amphitheater on May 20, 2023 in Chula Vista, California. (Getty Images/AFP)
Perry Bamonte of The Cure performs at North Island Credit Union Amphitheater on May 20, 2023 in Chula Vista, California. (Getty Images/AFP)
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Perry Bamonte, Keyboardist and Guitarist for The Cure, Dies at 65

Perry Bamonte of The Cure performs at North Island Credit Union Amphitheater on May 20, 2023 in Chula Vista, California. (Getty Images/AFP)
Perry Bamonte of The Cure performs at North Island Credit Union Amphitheater on May 20, 2023 in Chula Vista, California. (Getty Images/AFP)

Perry Bamonte, keyboardist and guitarist in The Cure, has died at 65, the English indie rock band confirmed through their official website on Friday.

In a statement, the band wrote that Bamonte died "after a short illness at home" on Christmas Day.

"It is with enormous sadness that ‌we confirm ‌the death of our ‌great ⁠friend and ‌bandmate Perry Bamonte who passed away after a short illness at home over Christmas," the statement said, adding he was a "vital part of The Cure story."

The statement said Bamonte was ⁠a full-time member of The Cure since 1990, ‌playing guitar, six-string bass, ‍and keyboards, and ‍performed in more than 400 shows.

Bamonte, ‍born in London, England, in 1960, joined the band's road crew in 1984, working alongside his younger brother Daryl, who worked as tour manager for The Cure.

Bamonte first worked as ⁠an assistant to co-founder and lead vocalist, Robert Smith, before becoming a full member after keyboardist Roger O'Donnell left the band in 1990.

Bamonte's first album with The Cure was "Wish" in 1992. He continued to work with them on the next three albums.

He also had various acting ‌roles in movies: "Judge Dredd,About Time" and "The Crow."


First Bond Game in a Decade Hit by Two-month Delay

'007 First Light' depicts a younger Bond earning his license to kill. Ina FASSBENDER / AFP
'007 First Light' depicts a younger Bond earning his license to kill. Ina FASSBENDER / AFP
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First Bond Game in a Decade Hit by Two-month Delay

'007 First Light' depicts a younger Bond earning his license to kill. Ina FASSBENDER / AFP
'007 First Light' depicts a younger Bond earning his license to kill. Ina FASSBENDER / AFP

A Danish video game studio said it was delaying the release of the first James Bond video game in over a decade by two months to "refine the experience".

Fans will now have to wait until May 27 to play "007 First Light" featuring Ian Fleming's world-famous spy, after IO Interactive said on Tuesday it was postponing the launch to add some final touches.

"007 First Light is our most ambitious project to date, and the team has been fully focused on delivering an unforgettable James Bond experience," the Danish studio wrote on X.

Describing the game as "fully playable", IO Interactive said the two additional months would allow their team "to further polish and refine the experience", giving players "the strongest possible version at launch".

The game, which depicts a younger Bond earning his license to kill, is set to feature "globe-trotting, spycraft, gadgets, car chases, and more", IO Interactive added.

It has been more than a decade since a video game inspired by Bond was released. The initial release date was scheduled for March 27.


Movie Review: An Electric Timothee Chalamet Is the Consummate Striver in Propulsive ‘Marty Supreme’

 Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)
Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)
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Movie Review: An Electric Timothee Chalamet Is the Consummate Striver in Propulsive ‘Marty Supreme’

 Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)
Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)

“Everybody wants to rule the world,” goes the Tears for Fears song we hear at a key point in “Marty Supreme,” Josh Safdie’s nerve-busting adrenaline jolt of a movie starring a never-better Timothee Chalamet.

But here’s the thing: everybody may want to rule the world, but not everybody truly believes they CAN. This, one could argue, is what separates the true strivers from the rest of us.

And Marty — played by Chalamet in a delicious synergy of actor, role and whatever fairy dust makes a performance feel both preordained and magically fresh — is a striver. With every fiber of his restless, wiry body. They should add him to the dictionary definition.

Needless to say, Marty is a New Yorker.

Also needless to say, Chalamet is a New Yorker.

And so is Safdie, a writer-director Chalamet has called “the street poet of New York.” So, where else could this story be set?

It’s 1952, on Manhattan’s Lower East Side. Marty Mauser is a salesman in his uncle’s shoe store, escaping to the storeroom for a hot tryst with his (married) girlfriend. This witty opening sequence won’t be the only thing recalling “Uncut Gems,” co-directed by Safdie with his brother Benny before the two split for solo projects. That film, which feels much like the precursor to “Marty Supreme,” began as a trip through the shiny innards of a rare opal, only to wind up inside Adam Sandler’s colon, mid-colonoscopy.

Sandler’s Howard Ratner was a New York striver, too, but sadder, and more troubled. Marty is young, determined, brash — with an eye always to the future. He’s a great salesman: “I could sell shoes to an amputee,” he boasts, crassly. But what he’s plotting to unveil to the world has nothing to do with shoes. It’s about table tennis.

How likely is it that this Jewish kid from the Lower East Side can become the very face of a sport in America, soon to be “staring at you from the cover of a Wheaties box?”

To Marty, perfectly likely. Still, he knows nobody in the US cares about table tennis. He’s so determined to prove everyone wrong, starting at the British Open in London, that when there’s a snag obtaining cash for his trip, he brandishes a gun at a colleague to get it.

Shaking off that sorta-armed robbery thing, Marty arrives in London, where he fast-talks his way into a suite at the Ritz. Here, he spies fellow guest Kay Stone (Gwyneth Paltrow, in a wise, stylish return to the screen), a former movie star married to an insufferable tycoon (“Shark Tank” personality Kevin O’Leary, one of many nonactors here.)

Kay’s skeptical, but Marty finds a way to woo her. Really, all he has to say is: “Come watch me.” Once she sees him play, she’s sneaking into his room in a lace corselet.

This would be a good time to stop and consider Chalamet’s subtly transformed appearance. He is stick-thin — duh, he never stops moving. His mustache is skimpy. His skin is acne-scarred — just enough to erase any movie-star sheen. Most strikingly, his eyes, behind the round spectacles, are beady — and smaller. Definitely not those movie-star eyes.

But then, nearly all the faces in “Marty Supreme” are extraordinary. In a movie with more than 100 characters, we have known actors (Fran Drescher, Abel Ferrara); nonacting personalities (O’Leary, and an excellent Tyler Okonma (Tyler, The Creator) as Marty’s friend Wally); and exciting newcomers like Odessa A’Zion as Marty’s feisty girlfriend Rachel.

There are also a slew of nonactors in small parts, plus cameos from the likes of David Mamet and even high wire artist Philippe Petit. The dizzying array makes one curious how it all came together — is casting director Jennifer Venditti taking interns? Production notes tell us that for one hustling scene at a bowling alley, young men were recruited from a sports trading-card convention.

Elsewhere on the creative team, composer Daniel Lopatin succeeds in channeling both Marty’s beating heart and the ricochet of pingpong balls in his propulsive score. The script by Safdie and cowriter Ronald Bronstein, loosely based on real-life table tennis hustler Marty Reisman, beats with its own, never-stopping pulse. The same breakneck aesthetic applies to camera work by Darius Khondji.

Back now to London, where Marty makes the finals against Japanese player Koto Endo (Koto Kawaguchi, like his character a deaf table tennis champion). “I’ll be dropping a third atom bomb on them,” he brags — not his only questionable World War II quip. But Endo, with his unorthodox paddle and grip, prevails.

After a stint as a side act with the Harlem Globetrotters, including pingpong games with a seal — you’ll have to take our word for this, folks, we’re running low on space — Marty returns home, determined to make the imminent world championships in Tokyo.

But he's in trouble — remember he took cash at gunpoint? Worse, he has no money.

So Marty’s on the run. And he’ll do anything, however messy or dangerous, to get to Japan. Even if he has to totally debase himself (mark our words), or endanger friends — or abandon loyal and brave Rachel.

Is there something else for Marty, besides his obsessive goal? If so, he doesn’t know it yet. But the lyrics of another song used in the film are instructive here: “Everybody’s got to learn sometime.”

So can a single-minded striver ultimately learn something new about his own life?

We'll have to see. As Marty might say: “Come watch me.”