John Wick: Chapter 2 is even more ridiculous than the original film – which, despite how it sounds, is meant as a compliment rather than an insult. The action sequences are more elaborate, the locations more exotic, and the body count is even higher. While John Wick may have had more shock value in its visceral introduction to the work of the eponymous assassin – becoming a cult classic in the process – John Wick 2 delivers a thoroughly energetic and visually arresting two hours of cinema.

It is evident soon into the film that the director, Chad Stahelski, has wisely decided to continue the focus on careful choreography of non-stop action sequences – inspired by Hong Kong ‘gun-fu’ cinema – rather than getting caught up in attempting to rationalise its plot. Part of what makes John Wick 2, like its predecessor, so entertaining to watch is the absurd chain of events that culminate in Wick coming out of retirement. Even more absurd is Wick’s infallibility as assassin, earning him the moniker of the ‘Boogeyman’. Indeed, the absurdity is crucial in satirising the ridiculous, but somewhat more plausible, premises underlying action franchises such as Bond.

“Killing is art, and its morality is not interrogated in John Wick’s parallel world, where assassins litter the streets”

We can thus dedicate maximum attention to the spectacle of the escalating action set pieces in the film. A largely bloodless car chase opens John Wick 2, but the rest of the film features a creative array of guns and gunshots. Of note is an extended scene in the Catacombs under Rome – featuring a full armoury, of course – reminiscent of Tarantino in the ironic contrast between lively pop music and gory deaths. The climax of the film is set inside a mirrored exhibition in a modern art gallery. Killing is art, and its morality is not interrogated in John Wick’s parallel world, where assassins litter the streets.

This parallel realm – the underworld of assassins – is exquisitely drawn, adding more detail to the sketch of the original film. Assassins have their own currency, informant network, and a decadent chain of hotels where a gentlemen’s agreement applies: no killing on premises, otherwise you are subject to an order of ‘excommunicado’. Assassination contracts are distributed from a Steampunk-inspired office, staffed by women in pink blouses and pencil skirts. This is a beautiful and warped alternative world that the viewer is thrown into, perhaps reassuring us by contrast that our current world is sensible.

Unknown Displeasures: Stalked by my Doctor

Despite John Wick 2’s escapism, I did feel a sense of unease upon leaving the cinema. There is a staggering amount of violence – the ultimate body count is in the triple figures – and yet the tone of the film is light-hearted. There is a scene in the middle of the film where commuters on the train sit and are mesmerised by the violence unfolding around them, or ignore it altogether. Perhaps that is an apt metaphor for the viewer.

John Wick: Chapter 2 makes violence seem commonplace, yet beautiful. The violent action is best enjoyed as a visual spectacle, rather than being too deeply analysed