Not every movie grasps the art of utilizing the actor’s natural blankness. The ones that do, however, reap significant benefits.
It is difficult to envision the John Wick films without Keanu Reeves. The franchise, arguably the most remarkable development in action cinema in recent years, is characterized by meticulously choreographed sequences of violence, yet it transcends mere bloodshed. Through its whimsical lighting and rhythmic pacing, the movies occasionally resemble musicals rather than typical action films, with the ensemble of henchmen and assassins appearing more like dancers than agents of death.
John Wick: Chapter 2 surpasses its predecessor in its portrayal of violence, resembling a vibrant disco where the human body is explored with fierce elegance. Reeves takes center stage as the film’s principal dancer, effortlessly guiding the narrative with his agile and graceful movements reminiscent of ballet training. This sequel is a sophisticated and artistic exploration of action-movie conventions, and it is Reeves who infuses it with a tangible human essence.
Reeves embraces his material, no matter how silly, on its own terms
Reeves did not initially rise to fame as an action star. His breakthrough came in the late 1980s with roles in Ron Howard’s Parenthood and particularly the hilariously absurd sci-fi comedy Bill & Ted’s Excellent Adventure. In this film, Reeves portrayed a lovably goofy character who exuded positivity and carefree attitude. This role, although silly, became iconic and solidified Reeves’ image as a symbol of friendly, blissful cluelessness.
Reeves fully embraces the silliness of the lowbrow content without any hint of irony or criticism. He immerses himself in the character and concept, not trying to elevate himself but rather going with the flow and embracing the goofiness of it all. In the sequel, Bill & Ted’s Bogus Journey, Reeves continues this trend by committing wholeheartedly to the dim yet appealing nature of the film. In a pivotal moment where he plays two different versions of Ted, Reeves maintains his nonjudgmental approach with epic dedication to both characters.
Reeves isn’t a blank, he’s a template
In 1991, Reeves made his debut in a major action film when he took on the role in Kathryn Bigelow’s Point Break. This is where Reeves truly begins to showcase his potential as an action star.
Similar to his characters in Bill & Ted, Reeves portrays an amiable West Coast bro in Point Break, but with a heightened intensity. He plays Johnny Utah, an FBI rookie who goes undercover as a surfer to apprehend a gang of bank robbers, led by Patrick Swayze, who serves as their spiritual leader.
Despite the somewhat contrived premise, the movie is far from silly. Point Break is a sleek and intense action thriller, with Bigelow treating the action sequences with utmost seriousness. Notably, a bank robbery scene towards the end of the film, where the robbers wear president masks, has become iconic in the genre. Bigelow’s dedication to capturing the adrenaline rush of both violence and natural danger makes Point Break one of the most exhilarating films of the past three decades.
Bigelow discovered that Reeves is not just a blank slate, but rather a template for the visions of others. He doesn’t fully embody his roles; instead, the essence of the movies he stars in takes over him. When utilized effectively, he becomes a sophisticated conduit for the creative visions of others.
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