“The Continental: From the World of John Wick”. It doesn’t try to be another part of the main series

The 2014 film “John Wick” turned out to be an unexpected success, spawning three increasingly extravagant and bombastic sequels that were well-received by audiences. While the main character’s story seems concluded, producers occasionally hint at another installment. For now, however, they’re focused on expanding the brand and universe with spin-off stories. A “Ballerina” spin-off starring Ana de Armas (with a brief appearance by Keanu Reeves’ character) is slated for release next year, and recently, a mini-series “The Continental” premiered, shedding light on the backstory of Winston Scott—played in the films by Ian McShane—and the titular hotel, a sanctuary for all kinds of assassins.

It’s important to note upfront that “The Continental” doesn’t attempt to be another “John Wick” sequel. The show adopts a distinctly slower pace, and while it centers on young Winston, it introduces a host of new characters, ensuring we learn more about each one. This doesn’t mean there aren’t dynamic and inventive action sequences—they’re present but in smaller doses, making the overall experience feel less like a video game, unlike the main saga (which isn’t necessarily a criticism). At the heart of the story is Winston Scott, portrayed brilliantly by Colin Woodell. Unlike many actors playing younger versions of characters previously portrayed by someone else, Woodell makes it entirely believable that he’s a younger version of McShane—sophisticated in his taste for elegant attire and delivering lines with that signature accentuation. Another familiar face is Charon (played by Ayomide Adegun). The new characters, both positive and negative, are intriguing and sometimes outright eccentric, showcasing the creators’ imaginative flair. Among the antagonists, Mel Gibson stands out. Although he hasn’t returned to Hollywood’s top tier and has been starring in somewhat mediocre productions (to put it mildly), his portrayal of Cormac O’Connor, while a stereotypical villain, is charismatic enough to be a worthy adversary for Winston and his allies.

“The Continental” can be enjoyed without prior knowledge of the “John Wick” saga, though it’s definitely better to be familiar with it to catch all the hidden Easter eggs and familiar references. The creators expand the universe slightly—we learn more about Winston’s past and uncover more secrets about the titular hotel. The screenplay doesn’t rush the plot at first, but in the final episode, it hits full throttle. While some might have reservations about the slower middle, the last part makes up for it with entertaining, brutal, and inventive action, as well as a few plot twists, not all of which are predictable.

For obvious reasons, the story is set before the events of the films. We’re taken back to the vibrant 1970s, and the era is depicted wonderfully. Everything feels fresh yet familiar enough to easily navigate the world of “John Wick”. And then there’s the music. It’s been a while since I’ve heard a soundtrack so perfectly aligned with what’s happening on screen. The music is practically a character of its own, contributing as much to the atmosphere as the set design, costumes, and vintage cars.

The only significant issue I have with the show is that it’s often very dark. While this doesn’t ruin “The Continental”, it sometimes requires extra effort to catch all the visual details. Aside from that, this show brought me a lot of joy. The characters are simply cool (yes, “cool” is the right word, even if my Polish teachers from primary and high school—greetings to them!—might cringe at the term), the action scenes are inventive (like the interrupted chase in the first episode or the entire hotel sequence in the finale), and the 70s setting, along with the fantastic music, made for a thoroughly enjoyable experience. I’d gladly watch more adventures of young Winston.

Written by Piotr Zymelka