In the ever-expanding universe of the “John Wick” franchise, “The Continental: From the World of John Wick” emerges as a handsomely produced but somewhat unnecessary prequel miniseries, exclusively available on Peacock. While it may not shine as brightly as its cinematic counterparts, this three-part adventure takes us on a nostalgic journey back to the gritty streets of 1970s New York, offering a unique perspective on the world of assassins and hitmen.
One of the standout features of “The Continental” is its meticulously curated period song score. Songs like Donna Summer’s “I Feel Love” set the perfect mood, immersing viewers in the shadowy world of disco-era New York. These musical choices often do as much, if not more, than the signature John Wick-style fight sequences to make the series worth a visit.
However, “The Continental” faces its highest hurdle in the form of its plot. Focusing on the history of the hotel that serves as a haven for assassins and the enigmatic organization known as the High Table, the series introduces us to a young Winston Scott, portrayed by Colin Woodell, who is thrust into the world of intrigue and violence after his battle-hardened brother, Frankie (played by Ben Robson), steals something of value from the High Table. This sparks an extended, meticulously choreographed fight sequence that fans of the franchise will appreciate.
To add some star power to the mix, Mel Gibson joins the cast as Cormac, the owner of the Continental. However, Gibson’s performance, while intriguing, leans toward the distractingly over-the-top, with a peculiar accent that doesn’t always hit the mark.
As Winston faces formidable adversaries, he gradually assembles a group of allies. While these characters have their moments of intrigue, the plot-driven machinations to bring them together sometimes feel like filler, delaying the action sequences that are undoubtedly the main draw.
In truth, the wider world of John Wick doesn’t seem to hold as much fascination when stripped of the franchise’s iconic action scenes. While “The Continental” introduces intriguing characters like Yen (played by Nhung Kate), whose instinct to punch her way out of danger adds depth, the supporting players, including familiar faces like Charon (previously portrayed by the late Lance Reddick and now by Ayomide Adegun), don’t receive enough screen time to justify an origin story.
Nevertheless, the series does incorporate some novel elements, including a fight with a contortionist and playful nods to “The Matrix,” adding an eccentric edge that keeps things interesting. As expected, “The Continental” adheres to premium-TV standards with its language, violence, and occasional forays into the realm of sensuality.
Despite a respectable amount of action, “The Continental” may leave some viewers wanting more firepower. Given its association with the “John Wick” name, it’s understandable that Peacock would want to capitalize on the franchise’s popularity. However, after experiencing the world of “The Continental,” curiosity and novelty may quickly fade, leading one to question the necessity of booking future reservations in this particular corner of the “John Wick” universe.
In conclusion, “The Continental: From the World of John Wick” offers a visually appealing trip back in time to the gritty 1970s New York, with a soundtrack that effectively captures the era’s essence. While it brings some intriguing elements to the table, including unique characters and action sequences, it struggles to stand out in the shadow of its blockbuster predecessors. It’s an entertaining addition for die-hard “John Wick” fans but may leave others with a lukewarm desire for more substance and fewer familiar tropes.
