Since I first saw John Wick, it was a universe I wanted to know more about, thanks to its unique blend of stylish action sequences, a mysterious underworld of assassins, and a dog that sparked a rampage. So, when news broke of a spin-off series titled The Continental, leave it to say my expectations were sky-high. Sadly, despite its vast potential, it failed to capture even the barest level of excitement the concept offered up.
Set in gritty 1970s New York City during a labour strike, The Continental offers a prequel glimpse into the origins of the infamous hotel that serves as a sanctuary for assassins and the core of the John Wick movies. The narrative revolves around two brothers, Winston Scott (Colin Woodell) and Frankie (Ben Robson).
Winston, as fans of the John Wick films would recognize, is the suave proprietor of the Continental’s New York branch in the movies. This series, however, paints a younger, more adventurous picture of him, juxtaposed against his hot-headed brother Frankie, a Vietnam war veteran.
“The Continental feels like a missed opportunity.”
The story gets underway in earnest when Frankie, fresh from the battlefield, orchestrates a heist at the Continental, stealing a prized artifact and drawing the ire of Cormac, the hotel’s crime boss-like proprietor, played by Mel Gibson. This sets off a chain of events, with Winston stepping in to save his brother and, in the process, aiming to take over the Continental himself.
On paper, the premise sounds thrilling and packed with potential, but somehow, the show drags with a story that honestly leaves much to be desired. Even though it is only three episodes, the series struggles to maintain momentum, with it more concerned about showing easter eggs and nods to the movie than actually building a compelling prequel.
It’s evident that the narrative might have been better suited for a film format or perhaps not pursued at all. The show, rather than delving deep into the intricate workings of the Continental or expanding the John Wick universe, feels more like an attempt to cash in on the franchise’s popularity without delivering the substance.
“The world-building feels negligible, and the action, though present, doesn’t match the intensity or creativity of its cinematic counterparts.”
I walked in with an open mind, but as expected, the major letdown was Mel Gibson’s portrayal of Cormac. While Gibson’s casting might have been intended as a comeback, his performance feels flat, lacking the menacing charm that Ian McShane brought to the older Winston in the films. Moreover, the series’ portrayal of Cormac’s relationship with a young Charon (Ayomide Adegun) feels problematic and awkward, overshadowing other potentially compelling storylines.
Even though it never comes into its own, unlike the movies, the series does shine in its action sequences. True to the John Wick legacy, The Continental boasts some impressive choreography, particularly showcasing Frankie as the formidable assassin of his time. The show also introduces a plethora of characters, adding layers to the assassin ecosystem, from dojo-owning siblings Miles (Hubert Point-Du Jour) and Lou (Jessica Allain) to detectives KD (Mishel Prada) and Mayhew (Jeremy Bobb).
Even with these few highlights, the series fails to capture the essence of the John Wick universe. The world-building feels negligible, and the action, though present, doesn’t match the intensity or creativity of its cinematic counterparts. The show’s attempt at period authenticity often falls short, with many scenes feeling constrained, lacking the expansive feel of 1970s New York.
The Continental feels like a missed opportunity. While it offers glimpses of the rich, complex world that the John Wick universe promises, it often gets bogged down by its pacing, questionable casting choices, and lack of depth. For die-hard fans, it might offer some insights into beloved characters’ backstories, but for casual viewers, it simply does not hold the same allure as the films. Here’s hoping future endeavours into this universe pack more punch and depth.
