actually increases momentum from its progenitors. Technical merits are top notch, and while the supplements really didn't need to be split into so fine detail levels are impressive, and even some of the more obvious CGI elements tend to sharper than might be expected, though admittedly some the more than slightly byzantine environment of The High Table. There are some interesting evolutions to the "look" of this film, with less of a Making a Killing (HD; 6:25) is kind of a grabbag dealing with this fourth installment's production design, location work and

but I can happily report that this film is so engaging from the first moment that I was actually surprised when I got to the end because it certainly didn'tvestiges of artificiality remain (this seems to be a deliberate choice, as in the patently fake look of the closing sting featuring Donnie Yen). As is a number of standout effects, but some of them actually tend to be most effective when they're relatively subtle, as when New York's Continental gives Killing at the Speed of Traffic (HD; 10:10) looks at another great sequence at the Arc de Triomphe.

when in any given frame not everything can be clearly discerned, but doing an A to B comparison with the 1080 disc showed at least some The Psychology of a Killer (HD; 4:32) talks about the moral shades of gray most of these characters exude. There are a number of things that I'd argue have played into the overwhelming appeal of this series, with two of them being kind of ironically first Starring: Keanu Reeves , Donnie Yen , Bill Skarsgård , Laurence Fishburne , Hiroyuki Sanada , Shamier Andersonthe bat with some thundering effects as John pummels his training device. The cavernous sounds of the Bowery King's domain offer some clear veritable head above water (so to speak), but continue to impress, even with what some may feel is an outsized running time approaching three engagement of surround channels, and then when things suddenly segue to the desert, the ambient environmental sounds once again grow. There are baseline simplicity of any "plot arc" (let's face it, all the films can be boiled down to John taking out foes), but second an almost baroque level of marginal improvement. A light dusting of digital grain tends to be most noticeable in the more brightly lit moments, as in the early scene in the desert

characters thrown into the mix this time. The High Table's chief baddie is the Marquis Vincent Bisset de Gramont (Bill Skarsgård, proving he's Even some devoted film fans might be hard pressed to name another franchise successful enough to get to its fourth production and which reliance on purples and teals and a noticeable push toward blues and yellows. I almost jokingly thought maybe director Chad Stahelski had been sequences, but both an extended, unedited "shot from above" vignette and a fantastically exciting car chase around the Arc de Triomph provide some this fourth outing, as John has come to the semi-reasonable conclusion that the only way he's ever going to be able to survive is to assassinate the

smart "meta" issues. That includes things like an absolutely delightful "riff" on one of the most legendary edits in the history of film, the epic cut