The John Wick series originated as the straightforward story of a skilled killer on a mission of revenge, but since then its mythology has expanded to encompass four films spanning multiple countries, an ever-mounting body count, and increasingly opaque motivations for Keanu Reeves’ titular revenger. We’re joined once again by Vulture critic and friend of the show Alison Willmore to discuss the newest entry in the Wickiverse, whether its extreme closing speed offsets a baggy middle section, and how the film’s illusion of closure is undercut by an array of spinoff-ready characters. Then we return to the origin of this pairing by bringing POINT BLANK back into the discussion to talk codes of honor and disposable underlings as they pertain to men on a mission of revenge. Please share your comments, thoughts, and questions about POINT BLANK, JOHN WICK: CHAPTER 4, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Richard Linklater’s BEFORE SUNRISE and Raine Allen-Miller’s RYE LANE Learn more about your ad choices. Visit megaphone.fm/adchoices

The revenge narrative has proven fertile ground for film in general (indeed, this is not our first pairing inspired by the subject) and the John Wick franchise specifically, which has just spawned its fourth chapter tracing a one-man killing machine’s path of righteous destruction across the globe. It’s also provided us with a fine excuse to revisit 1967’s POINT BLANK, the John Boorman cult classic that follows Lee Marvin on a more localized but no less brutal revenge tour of his own. So in preparation for John Wick’s globe-trotting mayhem, this week we’re joined by Vulture film critic and returning guest Alison Willmore to talk over POINT BLANK’s alternately dreamlike and bleak portrait of a man who’s lost his humanity — symbolically or literally, depending on your read — plunging violently back into the human world. Please share your comments, thoughts, and questions about POINT BLANK, JOHN WICK: CHAPTER 4, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices

Michael B. Jordan’s Adonis Creed begins the new CREED III in a similar position to that of Sylvester Stallone’s Rocky Balboa in ROCKY III, as a highly regarded, highly comfortable champion who must return to his roots in order to triumph in the ring. But CREED III’s antagonist figure, Johnathan Majors’ Damian Anderson, comes with a more interesting set of motivations and resentments, which we talk over with returning guest Matt Singer in our discussion of the new film. Then we get into the echoes between these two related points on the extended Rocky timeline, from their deployment of narratively convenient character deaths and training montages, to their respective ideas about underdog narratives and what one generation owes the next one.  Please share your comments, thoughts, and questions about ROCKY III, CREED III, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices

Originating as a late-stage ROCKY sequel, CREED has since evolved into its own multi-sequel franchise, with the new third entry bringing star Michael B. Jordan back into the ring as well as the director’s chair. That’s the same dual role Sylvester Stallone had for 1982’s ROCKY III, which similarly finds its star prizefighter far from his scrappy beginnings, and needing to humble himself in order to find glory again. There’s a lot connecting these two films, but only one of them can boast the involvement of Hulk Hogan, so we’re joined by critic, friend of the show, and ROCKY III advocate Matt Singer to discuss what issues Stallone and the franchise were working through with this underestimated second sequel. Plus, our extended discussion of extended sequences continues in Feedback as we consider some less-loved examples of the long take. Please share your comments, thoughts, and questions about ROCKY III, CREED III, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Outro music: “Eye of the Tiger” by Survivor Learn more about your ad choices. Visit megaphone.fm/adchoices

Steven Soderbergh’s MAGIC MIKE’S LAST DANCE ends the Channing Tatum male-stripper trilogy in a much different place than it began, centered on the unlikely romance between Tatum’s Mike and a wealthy woman, played by Salma Hayek, who’s interested in nurturing his talents. And while we’re all in agreement that’s to the detriment of the movie, it does make for a useful comparison point with 1951’s AN AMERICAN IN PARIS. After working through our frustrations with LAST DANCE with the help once again of Chicago critic Deirdre Crimmins, we compare them to our frustrations with AN AMERICAN IN PARIS, as well as the nuances of each film’s unbalanced power dynamics and extended climactic dance sequences.  Note: due to a technical failure during recording, some of the audio on this week’s episode is suboptimal. We apologize for the aural inconvenience. Please share your comments, thoughts, and questions about AN AMERICAN IN PARIS, MAGIC MIKE’S LAST DANCE, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Works Cited: Channing Tatum takes an alternate-reality approach to his stripping past in ‘Magic Mike’, by Genevieve Koski (avclub.com) “Female pleasure looks mighty odd in ‘Magic Mike XXL,’” by Tasha Robinson (thedissolve.com) “How It’s Always Sunny in Philadelphia Pulled Off Mac’s Jaw-dropping Dance,” by Maria Elena Fernandez (vulture.com) Outro music: “Pony” by Ginuwine Next Pairing: Sylvester Stallone’s ROCKY III and Micheal B. Jordan’s CREED III Learn more about your ad choices. Visit megaphone.fm/adchoices