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Watch John Wick Online Free Full Movie Streaming HD Download Full Length, John Wick – An ex-hitman comes out of retirement to track down the gangsters that took everything from him.

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There are no well guys in “John Wick, ” but there are some great workers working alongside Keanu Reeves in his darkest and most frustrated role yet: a stunningly lethal contract killer who moves establishing a rampage after a Russian thug dispatches his dog. Yeah, his boy. If you can stomach the setup, then the remainder is pure revenge-movie gold, as Reeves reminds what a compelling process star he can be, while the guy who served as his stunt double in “The Matrix” makes a remarkably satisfying directorial debut, delivering a sporty, efficient and implausibly assured thriller with serious breakout potential, thanks partly to Summit’s simultaneous Imax release.

That unsung hero is Chad Stahelski, the stunt guru who stepped into Brandon Lee’s shoes on “The Crow” and dropped the coming two decades engrossing all the behind-the-scenes filming lessons that make “John Wick” a technically impeccable actioner. (Stahelski and longtime stunt partner David Leitch approached the draft as a computer, but only Stahelski ultimately received guiding credit from the DGA, while Leitch is credited as a producer.) Whereas the tendency between many other helmers is to jostle the camera and cut frenetically under the mistaken conviction that visual confusion generates inflammation, the duo understand what a thrill well-choreographed action can be when we’re really in a position to make out what’s moving on.

And that’s why Reeves serves as just the appropriate star to play Wick, a short-fuse antihero whose ridiculous moniker (borrowed from screenwriter Derek Kolstad’s grandfather) clumsily conveys his volatile mollify. There’s nothing clumsy regarding the worker who plays Wick, but, as Reeves’ lithe physicality enables stretched sequences under which he moves athletically through an environment full of adversaries, shooting, wounding or otherwise immobilizing them one at a moment.

Since brutally efficient action sequences are under these brief supply these years, the fact that “John Wick” presents nothing fewer than half a dozen — home invasion, hotel room, Red Circle lodge, church parking lot, Brooklyn safehouse, grand finale — more than excuses Kolstad’s lame-brained book. Essentially, the idea is to mislead audiences into believing that Reeves’ role constitutes a mild-mannered home man, compressing the preceding few months’ time of personal tragedy into a montage during which Wick visits his wife (Bridget Moynahan) in hospital, hangs her rain-drenched funeral (where previous colleague Marcus, played by Willem Dafoe, makes an ominous show), and weeps upon receiving her final gift: a pre-trained puppy named Daisy.

This intro doesn’t exactly office Wick as somebody Russian mobsters would refer to as “the Boogey Piece, ” but of course, everyone during front theater already experiences what’s coming. Far from fooling anyone, this mopey opening only provides an embarrassing bit of melodrama to get past before the carnage can commence — which it does soon enough, when “Game of Thrones” goon Alfie Allen, playing the bratty son of a Russian offence boss, improbably shows up at a rural gas station and offers to purchase Wick’s prized 1969 Boss Mustang. When Wick declines, the punk and his friends elect to break into his home and assistance themselves, licking Wick with baseball bats, shattering his alia, snapping the poor dog’s neck and taking the Mustang on their leave.

While defeating a dog scarcely seems adequate to warrant the meticulously orchestrated mayhem that follows, we should at least be grateful the pic doesn’t impose some greater emotional trauma upfront (like forcing us to witness his wife’s assault or murder, a la “Death Wish”). The book waits until this time, when Iosef takes the stolen Mustang under the two store to see its shells changed, before telling Wick’s report. The fence (a tough-looking John Leguizamo) nervously refuse to assisting, notifying Iosef’s comparatively genteel mobster daddy, Viggo Tarasov (Michael Nyqvist, looking suave and gathered in the presence of some demise), that his son has awakened a monster.

One almost feels sorry for Stahelski, who’s been granted such a soggy pulp screenplay to collaborate with, and yet it’s during these B-movie shots that we start to feel what he can bring to the table. In terms of material, “John Wick” is nothing special, but there’s a suave elegance to the road Stahelski and Leitch attack this soundly generic proposal, seizing the chance to present some pretty spectacular setpieces at the manner.

The result, photographed in sleek, steady-hand widescreen by Vilmos Zsigmond protege Jonathan Sela, looks more like recent Nicolas Twisting Refn pics than comparatively sloppy studio fare (right land to its cool, neon-lit shootouts), relying on a combination of leaden metal and electronic medicine outside the likes of Marilyn Manson, Tyler Bates and Kaleida to generate propulsive forward energy. Needless to said, Iosef and his thugs preferred the wrong guy to mess with. But their error wasn’t st