One of the virtues of the beloved John Wick franchise is its efficient worldbuilding. The eponymous hero is well-versed in the criminal underworld, and every new element is introduced to him and the audience simultaneously. Details left in the dark are shadowed because no one would care about them. The Continental digs into the earlier life of Winston Scott, Wick's dearest friend under the Table. It's not particularly necessary, but there's fun to be had.
Albert Hughes directed the first episode of The Continental. He's well known for his collaborations with his brother, Allen, but he's been a solo act since 2010. Albert's most recent work was an episode of the epic historical action drama The Good Lord Bird. Greg Coolidge, Kirk Ward, and Shawn Simmons provided the screenplay for the feature-length first episode. Coolidge has his name on classics like Employee of the Month, and he previously worked with Ward on Wayne and The Turkey Bowl.
The Continental follows young Winston Scott, the man who will eventually run the titular hotel for assassins. Colin Woodell, star ofUnfriended: Dark Web and The Purge TV show, takes the role from the ever-charming Ian McShane. He's decent enough, especially adjusting for the character's youthful ambition. Winston is an up-and-coming con artist working in London when he's forcefully dragged back to New York City. Winston is tasked with finding his brother, Frankie, the show's ex-military Wick-wannabe. Cormac, the Continental's current overseer, wants Frankie dead for stealing a critical artifact. The High Table's current Adjudicator, Frankie's master-assassin wife, and his arms-dealing war buddies join the fray from all sides. The episode culminates in a mad dash to escape a small army, setting the stage for the next two episodes.
The question on every fan's mind is whether this show will live up to the action standard set by four of the finest entries in the genre. The answer is no, but the set pieces on display are still decent. Ben Robson, as Frankie, opens the episode with The Continental's first attempt, which works reasonably well. He's compelling enough to watch, but it's impossible to miss how much more believable Keanu Reeves is in these moments. Unfortunately, several other action movies and shows have lifted elements of gun fu from Wick, making this feel like another imitator. There's some creativity on display, and John Wick fans will love the series' action, but the franchise is more than gunplay in fancy suits.
The Continental, bolted on subtitle straight from the school of Pennyworth not-withstanding, wants to be its own thing. Its period setting and occasional historical reference point shift its subgenre from neo-noir to good old-fashioned noir classic. The city is dilapidated and gross. Most of the population of New York is either a Mafia enforcer, a petty criminal, or a depressed Samaritan trying and failing to help. Winston's outside perspective keeps the show from delving deep into the multifaceted underworld that keeps John Wick engaging. Instead, the show attempts to dredge up a familiar family story with the criminal element as a backdrop. It's considerably less compelling than the constant descent of the film franchise. The most distracting detail is the show's sense of humor, which is snarky and oddly bitter. Most of the jokes don't land. John Wick doesn't typically do gags, but its "one-thing-after-another" structure can become hilarious. The Continental's bits are too predictable to be compelling, but the consistency with which the series tries becomes annoying.
Why is Mel Gibson in this show? Why is he in anything? The man's trespasses against basic decency are so well-trodden that they would be considered old hat in a modern stand-up show. He's the villain of the piece, a role he takes to very naturally. There's a chance the writers seek to make a joke out of hiring someone audiences widely dislike to play a character they're supposed to hate, but that gag is too edgy to work outside a terrible sketch show. Gibson's performance is tolerable, though his scenery-chewing antics stand out awkwardly against the background of slick, casual con artists, gritty action heroes, and swiftly-dead extras. His presence is distracting enough without making him play Norman Stansfield while Woodell is doing Danny Ocean or Robson is doing a mediocre John Wick. Speaking of impressions, total newcomer Ayomide Adegun is tasked with playing young Charon, which means impersonating Lance Reddick. He can do the accent, but he can't convey the ever-present heir of ominous ambiguity or unflappable composure Reddick brought across. Hopefully, the show will allow him to stretch a bit more in the following episodes.
The Continental carries some of the strengths of its franchise and a few new treats, but it's a bit of a mess when viewed as a whole. The art of adapting a popular film franchise into prestige TV has resulted in very few successes. This is far from the worst attempt, but it's not breaking any new ground in its first episode. There are two more feature-length episodes to go. The Continental may be the weakest part of The World of John Wick so far, but there's plenty of room for improvement. Don't check out just yet.
The Continental
"Brothers In Arms – Night 1"Young con man Winston Scott is dragged to the hotel he will one day run to hunt down his long-lost brother, lest powerful underworld forces find him first.