Yeah, just like James Cameron is with sci fi, Del Toro has always felt like someone who deeply respects the fundamentals of the horror genre. So while that almost certainly means he views the old Universal monster movies as fundamental, it also probably means he views the distinct elements from the book not yet committ…

Goodness, I hope not.

I’d also accept him taking some cues from Junji Ito’s version:

This is precisely my hope for Guillermo Del Toro’s adaptation. If there’s anyone who doesn’t seem like he’d feel beholden to James Whale’s classic films over the book itself, I’d argue it’s him.

Hey, that’s all one can ask for! I very much appreciate exchanging fresh perspectives. Thanks, again.

When was John Wick EVER really a character?

Hey, that sounds like a good recommendation! Thank you. I am always happy to have a negative opinion on a movie get turned around to positive, so here’s hoping that happens here. :)

Oh, yeah. During that one lady’s suicide scene, there’s some sideboob. That was a weird scene.

Okay, when you put it like that, it becomes less absurd. When I saw the film, I took it to mean those were all assassins, not staff or random people that a powerful man gathered together for a flash mob. The idea of there being that many assassins that just so happen to be in the same area seemed ridiculous.…

Dude.

Exactly. What made the first one cool was that all of the assassin guild stuff had tons of style, but still felt like it could reasonably remain clandestine. I could imagine it all existing in the real world, even the tarted-up phone operators, and that made cool as shit!

By the time the second movie ended, where you…

It really is, unfortunately. And to add insult to injury, both Wick and Ian McShane’s character end up in the exact same situation they started the movie with! Absolutely nothing was accomplished!

Honestly, I think that would be for the best. John Wick and his world was always at their most interesting in the first film, when the culture of assassins was merely hinted at and John’s reasons for taking up the gun again felt pure.

That’s a good point. I can agree wholeheartedly with that.

Hell, at least they could have added a few helpful bystanders to die.

Similar to you forgetting about the boyfriend, I had forgotten about the therapist entirely; his function in the plot and death were both so perfunctory. I mean, it seems like they were pulling a “Let’s put Henry Winkler into the movie just to kill him” with Henry Czerny here, which I can always appreciate, but for…

You know, I have heard that posited elsewhere. If that is, in fact, what they’re doing, then I can get behind that, and I definitely think this movie will look better in hindsight.

Too bad the real Salt Lake City doesn’t have a subway system, nor any tunnels under the city, really (it’s got precisely one tunnel. Just one).

And hey, set it in the future!

Yeah, I struggled over how to phrase that, and it looks like what I settled on still missed the mark. Too bad Kinja won’t let me fix it.