“The Continental: From the World of John Wick” transports viewers to a bygone era within the established John Wick universe, specifically the vibrant and gritty New York City of the 1970s. This prequel series shines a spotlight on the formative years of Winston Scott, portrayed by Colin Woodell, and the infamous Continental Hotel, a sanctuary and neutral territory for the global criminal fraternity. While ambitious in its scope and undeniably intriguing in its premise, the series navigates a complex landscape, striving to capture the enchanting allure of its cinematic predecessors but occasionally missing the mark.
One of the series’ undeniable strengths lies in its meticulous and immersive world-building. The production design team deserves accolades for their dedication to recreating the 1970s New York aesthetic. The Continental Hotel itself, a setting both familiar and enigmatic from the John Wick films, is rendered with a captivatingly raw charm. The series effectively illuminates the clandestine corners of the assassin’s world, revealing the underbelly of this unique establishment. True to the John Wick legacy, the action sequences are expertly choreographed, delivering the franchise’s signature blend of intense hand-to-hand combat and brutal martial arts. These moments of visceral action are undoubtedly thrilling and maintain a high bar for the series.
However, “The Continental” encounters some turbulence in its execution. The narrative, while brimming with potential storylines inherent in the John Wick universe, sometimes treads familiar ground, relying on well-worn tropes. The pacing, a crucial element in the success of the John Wick films, occasionally falters here. Certain plot developments can feel somewhat forced, and at times, the series leans into clichés that detract from its overall originality. Furthermore, the development of supporting characters is uneven. While some characters are richly drawn, others lack the necessary depth to make their story arcs truly engaging and impactful for the audience.
The casting choices also present a mixed bag. Mel Gibson’s presence as Cormac, the Continental’s formidable manager, injects considerable star power into the series. However, his casting has proven divisive amongst viewers due to his well-documented and controversial public persona. Conversely, Katie McGrath’s depiction of The Adjudicator brings an intriguing dimension to the intricate power structures within the Continental and the wider assassin world. Despite McGrath’s compelling performance, the character’s potential impact is somewhat diminished by dialogue that occasionally lacks sharpness.
A notable highlight of the series is its carefully curated soundtrack. The selection of 1970s rock tracks impeccably complements the visual style and temporal setting. However, there are instances where the music, rather than seamlessly enhancing the scenes, threatens to overpower them. This occasionally results in the series feeling less distinctive and more conventional than it arguably aims to be.
In conclusion, “The Continental: From the World of John Wick” presents itself as a somewhat uneven offering. It successfully broadens the John Wick narrative universe, providing a stylish and action-packed glimpse into the 1970s criminal underworld centered around the iconic John Wick Continental Hotel. Despite its strengths in world-building and action choreography, the series encounters challenges with pacing and character depth, preventing it from fully reaching the lofty standards set by the John Wick film franchise. For dedicated followers of the John Wick saga, “The Continental” is likely to be a worthwhile viewing experience, but it is best approached with measured expectations.
