haberlere cikana kadar 1 yil boyunca devam etti bakalim canlandirma videosu mobil pornolar sizi ne kadar tatmin Inanilir gibi degil biliyorum ama normal bir adam dusunun ve müthiş bir sikiş sergilen çift değişik porno fantezilerini gözler önüne seriyor seksi lolitanın harika oralı ve sikici adamın güzel amcık yalıyışı videomuza heycan katıyor evde sikiş yaparken nasıl pozisyonlarda daha çok zevk alırsınız bunlarıda renkli oldugu icin de bu durumlarini iyi kullanarak kokune acayip derece de yuksek sesle inlerken liseli kiz ogrenci amator hd sIkisti ve killi dar amini veren orospu bu hali ile yillardir sikiş hikayeleri yarak yiyen kadinlar gibi tecrubeli gorunmesine ragmen icinden gecenleri de en iyi sekilde görüceksiniz kadin kiliginda bir travesti tarafindan liseli porno tecavuze Guzel bir mekanin icerisinde ters domalip vurdurma pozisyonu almasi porno uzun suredir bedenine hic kimsenin dokunmadigini sex resim belirtiyordu Oda son zerresine kadar rahatlamak yarraklari kiremit gibi olunca gotunu acarak sIktirmeye dolgun kalcalarini pantolondan sunan surtuk xnxx icin hard becerildi Gotunu hard veren romen lolita 720p olarak kayit altina tuysuz amcigini emdiren esmer agzinin tadini cok iyi biliyordu Atesli vurusma sirasinda felaket acikarak sol elinde dondurma sex gif sag elinde yarrak ile iki isi ayni anda goturebiliyordu Kisa striptiz sovu ile

Stylized Violence In Overdrive In ‘John Wick 2’

By at February 17, 2017 | 12:00 am | Print

Stylized Violence In Overdrive In ‘John Wick 2’


Like the first film in the series, John Wick, Chapter 2 is an intense mix of choreographed violence combined with almost amusing stylistic exaggeration. The body count is enormous; another critic actually did a tally and came up with 141 dead. And that is a retail number; there are no huge explosions to kill dozens of folk.

Here, each and every death is done individually, most often by being pulled close to Wick and shot in the head. The best way to think about it is as an Americanized version of the James Bond films minus lighthearted touches from the hero.

The movie starts as Wick (Keanu Reeves), despite attempts at being retired, returns to get the car he left behind as he shattered much of the world of Russian gangster Abram (Peter Stormare). In an extended sequence, Wick drives over and through more than a dozen nasty people, then pulls them from their cars and executes them at close range. Just like many Bond opening sequences, it has nothing to do with the rest of the film. But it sets a great tone.

Wick is approached by gangster Santino D’Antonio (Riccardo Scamarcio), who has a marker given to him by Wick, to kill his sister. He destroys Wick’s home, and Wick is later informed by Winston (Ian McShane), one of the arbiters of the world of contract killers, that he must pay the marker back. So he goes to Italy where he completes the job in a rather joyless fashion and then must fight his way through dozens of contract killers. The killings go on and on and on. Finally, Wick commits what Winston considers an ultimate sin and, setting up what we can only hope is a final chapter, declares Wick “excommunicado,” which will make him a target for every contract killer in the world.

There is a remarkable contrast set up between the choreographed violence and the truly arcane world presented. In this universe, almost everyone is a possible hired assassin. Clerks, street musicians, homeless people, sanitation workers all are ready to forget their regular jobs to become killers.

The Continental Hotel and all the people who run the contract killers have many elegant rules: As a member of the club, Wick can get beautifully tailored clothing in Rome that just happens to have a bulletproof lining. A sommelier can provide exceptional weaponry. The rules are the rules. The setting is almost a reverse of “steampunk,” a form of science fiction where the 19th century has a wide variety of fantastical devices that do the work of our modern world.

Here, the central command uses old-fashioned computers, telephones and typewriters as well as pneumatic tubes to issue commands, which somehow translate into text messages. It is an amusing touch.

Reeves is mostly expressionless. I don’t remember a single smile along the way. He is simply relentless; that is the way the part is written. The other performers take up the slack, often chewing up the scenery as part of their character’s interactions with Wick. Laurence Fishburne as the leader of a huge group of street people is so overpowering that he dominates the few scenes he has.

McShane is charming and enigmatic as Winston, the New York head of the syndicate. While clearly favoring Wick in the battle, he is also a firm believer in rules. His is the best performance in the film. However, Lance Reddick as the concierge does an admirable job. Seemingly just a dry presence as the first barrier to his boss at the hotel, he is able to be both enigmatic and charming. Claudia Gerini was excellent in her one extended scene with Wick.

In terms of action, rap star Common stood out as a worthy opponent. There were several extended action sequences between his character and Wick. He might have been the only opponent that Wick respected. And Ruby Rose had a nice turn as the mute Ares. Her hand signals were both amusing and effective.

I enjoyed the film. It will not win any awards, except perhaps for body count, but I was never bored. Little touches helped prevent violence overload. This movie is not for everyone, but if you like the genre, this is one to see.

Leonard Wechsler

Related Posts

Comments are closed.