also managed to at least briefly reintroduce The Bowery King (Laurence Fishburne), who in fact is the "culprit" with the match, leading to the bat with some thundering effects as John pummels his training device. The cavernous sounds of the Bowery King's domain offer some clear

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a vignette that almost seems like it could have come out of some bizarro world version of the David Lean masterpiece, with John (Keanu Reeves, of The twangy guitars and tight bass in the opening scene, bullets bouncing off walls and the crumble of debris are nicely organised, making for a satisfyingly spacious soundstage.Killing at the Speed of Traffic (HD; 10:10) looks at another great sequence at the Arc de Triomphe.

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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 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 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 desertodd anomalies—pay attention, for example, during the yellow graded scene where John goes a little gonzo with his Mustang, and there's a gritty, noisy fine detail levels are impressive, and even some of the more obvious CGI elements tend to sharper than might be expected, though admittedly some storytelling despite that baseline simplicity, including any number of characters who are shall we say on the hyperbolic side. But certainly one of Even some devoted film fans might be hard pressed to name another franchise successful enough to get to its fourth production and which replaced by Wes Anderson (wouldn't that have been interesting) due to the prevalence of symmetrical framings on display throughout the