The Continental Review : In the world of the John Wick franchise, ” The Continental ” emerges as a spinoff series that seeks to delve into the backstory of Winston Scott, portrayed by Colin Woodell in this series. Winston is a key figure in John Wick’s world, and “The Continental” aims to explore how he came to be the owner of the renowned assassin hotel in New York City, known as The Continental.
The series kicks off with an immediate nod to Keanu Reeves’ iconic line, “guns… lots of guns,” which keen fans will remember from John Wick and The Matrix. This homage to Reeves’ filmography sets the tone for the show, highlighting its self-assured approach.
However, despite its potential, “The Continental” struggles to escape the looming shadow of John Wick. The series takes place in a complex cinematic universe, featuring a rich mythology that could stand on its own. Yet, the show fails to fully capitalize on this opportunity.
The Continental Review
The narrative unfolds over three feature-length episodes and primarily focuses on Winston’s relationship with his estranged brother, Frankie, and the influence of the abrasive Cormac O’Connor, played by Mel Gibson, who manages The Continental in the 1970s. Cormac’s character, while meant to be Winston’s polar opposite, comes across as an attempt to recreate familiar John Wick character dynamics, which occasionally feels uninspired.
“The Continental” introduces several new characters and subplots, but many of them fail to feel genuinely significant or emotionally resonant. For example, the storylines involving siblings Miles and Lou Burton or Detective KD Silva’s investigation into Frankie’s activities often divert from the central plot, leaving viewers disconnected from the High Table’s overarching influence.
Colin Woodell’s performance as Winston stands out, capturing the essence of Ian McShane’s character while adding his own touch. Ayomide Adegun’s portrayal of Charon, The Continental’s concierge, also impresses, offering a mix of Lance Reddick’s sensitivity with a touch of naivete. However, the relationships between these characters receive less emphasis than expected, leaving other less compelling characters to fill the screen time.
Frankie, who works for Cormac and closely resembles John Wick in style and combat prowess, doesn’t get the attention he deserves. While Ben Robson handles his action scenes well, the series’ focus on Winston leaves Frankie’s character underdeveloped. Similarly, Yen, Frankie’s wife with a Khmer Rouge background, offers some substantial thematic discussions, but these don’t weave into character arcs effectively.
Visually, the production design successfully captures the gritty atmosphere of the original John Wick film. However, action enthusiasts may be disappointed, as the hand-to-hand combat lacks the exceptional creativity seen in the John Wick movies. A clumsy car chase scene further detracts from the show’s overall quality.
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In the end, “The Continental” succeeds in creating a sense of continuity within the John Wick universe and opens doors for potential exploration of the hotel’s history and its international counterparts. However, it falls short of delivering a compelling narrative that can stand on its own. While it may pique the interest of die-hard John Wick fans, it struggles to make a significant impact due to its disjointed execution.
In summary, “The Continental” had the potential to thrive independently but fails to fill the void left by John Wick’s absence. While it offers glimpses into Winston’s past, it struggles with its scattered and lackluster storytelling, leaving viewers hoping for a more coherent and engaging portrayal of this intriguing world on the small screen.
