“John Wick: Chapter 4” Theatrical Poster
Director: Chad Stahelski
Cast: Keanu Reeves, Donnie Yen, Bill Skarsgård, Laurence Fishburne, Hiroyuki Sanada, Shamier Anderson, Lance Reddick, Rina Sawayama, Scott Adkins, Ian McShane, George Georgiou, Marko Zaror, Aimée Kwan
Running Time: 169 min.
By Henry McKeand
Midway through John Wick: Chapter 2, the titular boogeyman guns his way down a subway escalator and passes a blink-or-you-miss it poster that reads:
“The Only Way Out Is To Go Through.”
Like so much in the series, this doubles as a piece of meta-commentary. Yes, John Wick the man must fight and kill and bleed if he wants to reach some semblance of peace, but John Wick the series realized early on that it, too, needed to have a tunnel-visioned dedication to ceaseless conflict if it wanted to surpass its sleeper hit original.
That film’s brilliant “they killed my dog” simplicity made it easy to root for the stoic hitman even as he slaughtered people only tangentially related to his dog’s fate. It’s not news to anyone now that he decisively succeeded in his revenge. Nevertheless, the acclaim and box office success demanded a sequel. The question was this: why would Wick continue killing? By building on the hints of worldbuilding from the original, Chapter 2 gave an answer:
He has no other choice.
By “dipping a pinky back into the pond,” Wick doomed himself to a world he once fought to leave. The second and third installments found him embarking on a new quest to escape that world again, but they never made it clear exactly what he would do if he actually made it out. Throughout the series, he’s asked if a return to “normal” life is possible, but to paraphrase the man himself, he’s never really had an answer. The sequels have continually upped the action ante while distilling the story to a single-minded quest. Solace may be unreachable, but he tries anyway.
Despite the increasing brilliance of their combat, the sequels have been criticized, by myself included, for being light on substance. Going into Chapter 4, it seemed unlikely that Stahelski, Reeves, and the rest of the team could build on 3’s delirious blockbuster heights while delivering any sort of emotional resonance.
But, in a triumph of sheer commitment that would make Wick himself proud, they did just that. And then some.
While the series is no longer a trilogy, it’s easy to view Chapter 4 as its The Good, The Bad, and the Ugly. The scope is bigger than ever, and there are at least two sequences that work films within a film, each with side characters vivid enough to warrant their own spin-offs.
Yes, Donnie Yen is here, and, no, he is not wasted. Every action scene he has is beyond brilliant, but the emotion and humor of his performance are what really surprise. The same praise can be heaped onto Scott Adkins* and Hiroyuki Sanada and Marko Zaror and Rina Sawayama and Shamier Anderson and Bill Skarsgård and Clancy Brown, as well as series veterans like Ian McShane and Laurence Fishburne and Lance Reddick, whose recent passing lends bittersweet heft to his scenes as Charon, the fan-favorite concierge.
***(Adkins has been on John Wick-Lists for years, but fan castings always had him as a straightforward foil or sidekick. Brilliantly subverting expectations, he finally shows up in Chapter 4 as a massive, flamboyant crime boss in a fat suit).
At the end of the day, though, the main attraction is Reeves. Since the start, this has been his only non-Matrix role to understand what makes him such a magnetic performer (hint: it’s not long monologues), but Chapter 4 finds him downright transcendent. Every line reading feels colossal, and it’s the best he’s ever looked doing action. He has long been mythic—now, you can practically see him getting closer to Godhood with each grapple and perfectly placed headshot.
It’s by far the longest film in the series, so it goes without saying that there are a lot of these headshots. Less predictable are the long stretches with no violence at all. There’s a newly mature focus on character that gives the action a weight that’s been missing since the original. This is thanks to an earnest commitment to material that would be easy to smirk at. Whereas David Leitch, the uncredited co-director on the first Wick, has embraced empty, self-mocking fluff like Hobbs & Shaw, Stahelski and his team have made an honest-to-God modern rōnin film about brotherhood and battle weariness.
But when the bullets and nunchucks start flying? Mainstream cineplexes have never a mind-melter like this. It’s expertly crafted, too. In a world where countless Wick-clones deliver joyless, one-note hallway shootouts, Chapter 4 serves as a reminder that even the craziest fight scenes can have satisfying pacing. It’s the series at its most indebted to Hong-Kong-style setups and payoffs, and the outrageous stunts and violent punchlines remain a pleasure to watch.
This has been said about the Wick films before, but it’s never been truer: this is porn for action fans. Sometime during the first massive fight sequence, with katanas and arrows and body armor and impossible takedowns, it becomes obvious that you’re watching a new gold standard being set in real time. Maybe you, like me, think that Wick’s ultra-precise shooting doesn’t have the messy, operatic beauty of Woo-style heroic bloodshed. Maybe you’re tired of Russian gangster villains or “polite, fancy assassins” or the general wave of bland imitators…
None of that matters once you see what happens when a team of the most forward-thinking artists in action cinema are given a blank check to make the gonzo epic they’ve been dreaming of.
It’s beautiful, and—thanks to its reckoning with Wick’s endless search for purpose—it feels meaningful. Poignant, even.
For nearly a decade, “John Wick” has been synonymous with filmic badassery, replacing Jason Bourne and Liam Neeson as the reigning action icon. He’s a cartoon. A symbol. A Fortnite skin. What he isn’t is a real human being. He barely knew the dog that fueled his revenge, and flashbacks of the dead wife who altered the fiber of his soul amount to maybe a minute of screentime across four movies. His only destiny is to struggle for reasons he doesn’t fully understand against forces he can never truly defeat.
From another angle, he’s a man trapped in a cycle of bloodshed by a media franchise that only cares about him as an agent of death. No one wants an alternate cut of the first film where his dog is never killed. They want to see him dig up his buried guns and do what he does best. He goes through hell itself because greater forces—criminal societies and film studios—have deemed it to be.
But, against all odds, there are small moments in-between the chaos when Reeves, through a tired gesture or a soulful expression, shows a crack in the character’s armor and offers a glimpse at the man beneath. These tiny respites are reminders that, to our hero, there actually is a better life, or at least the memory of a better life, to fight for.
In Chapter 4, Wick talks often about wanting to remember his wife. He’s the only one in the story who can, and he doesn’t talk much about her with the other characters. The implication is that they couldn’t understand what he had with her. Perhaps that’s why so little of his “happy life” is shown—those are moments too intimate for us to witness, even as they inform every action he takes.
At one point in the film, he’s asked how he wants to be remembered. “A loving husband,” he replies. That’s the half of him we’ll likely never get a chance to see, but Chapter 4 reminds us, more than its predecessors, that it once existed. Then, with a grin, it shows us in blood-soaked 4K just what his other half is capable of.
Henry McKeand’s Rating: 10/10
Wow, I felt considerably different about this one, probably closer to a 5/10!
When people ask me to describe the John Wick franchise (which, for the record, they never do), I always say that with each installment the action gets better and better, while the story and acting becomes weaker and weaker.
Chapter 4 only reinforces that opinion (although nothing in this entry beats the antique store fight against Roger Yuen and his cronies in ‘Parabellum’), and with a runtime clocking in at close to 3 hours, it’s a big ask for audiences to be invested in a paper thin story that we already know (Wick wants to be free from the high table – that’s it) and a main character who’s practically become monosyllabic since the original in 2014.
I think how much enjoyment will be derived from JW4 will largely depend on audiences appetite for high table talk. Personally I preferred the humanity the character was given in the original (a grieving husband pushed over the edge by his dog being killed), and in that regard the franchise is unique in the way that, rather than further fleshing out his character with subsequent entries, John Wick has basically devolved into a 1-dimensional killing machine who gets progressively less lines with each entry.
There’s a lot of high table talk in JW4, and the opening hour is a laborious affair save for a fun assault of Hiroyuki Sanada’s Osaka branch of the Continental (and yes, like ‘Parabellum’ here the best action is front loaded). A stilted script full of heavy handed cliched musings spoken with a weight the narrative hasn’t earned, and awkward attempts at humour that land with a resounding thud, make any non-action scenes a strangely tensionless affair. With nothing going on dramatically, that leaves any build up of momentum squarely on the shoulders of the action.
To that effect, JW4 comes with a heavyweight cast of action talent. Top of the pile in terms of expectation is Donnie Yen, and he does his thing well enough. My main problem is that his character’s sole purpose is to act cool, and when you combine that with Yen’s sizable ego, what you’re left with is an updated version of his hitman in 1998’s ‘Ballistic Kiss’ (and that’s not meant as a compliment). Thankfully we still get the Ip Man-chain punch, and (going even further back) the classic Yen wind-up punch, both of which are thrown into the mix in addition to his primarily sword based fighting style.
Scott Adkins is onboard as a hybrid of Roy Chubby Brown and Sammo Hung from ‘SPL’, as is Marko Zaror as Bill Skarsgård’s righthand man, both of whom get to throw down against Reeves in scenes that deliver on the physicality, but lack any real emotional connection. What the deal was with Shamier Anderson’s character and his dog I don’t know, as he seems to be completely superfluous to the plot, and if all of his scenes (there’s a lot of them) were cut it’d make precisely zero difference to where the narrative ends up.
Surprisingly towards the end there’s a couple of laugh out loud moments which hit the mark 100% (one involving Marko Zaror and the other involving Donnie Yen) which made me think how much more enjoyable the Wick movies would be if they didn’t play things so poker faced and overly serious. Kind of like the direction ‘The Transporter’ movies went in during the 2000’s, when the first one seemed to want us to take Jason Statham’s character at least semi-seriously, then the sequels just said actually forget trying to take this stuff seriously, let’s just go all in on the crazy action and have some fun. I couldn’t help but feel that, despite the outstanding action onscreen, sometimes the ‘fun’ element of it just felt lacking.
I’m honestly expecting to be one of the few who wasn’t left thinking that this is the best action movie of the 2020’s, but for me at least, if this does turn out to be the last of the ‘John Wick’ flicks, then I’m ok with it being laid to rest.
Totally see how you felt that way. My review probably makes me seem like a fanboy, but I’ve actually had some pretty big reservations about the series before (especially after my first viewing of 3).
To me, these characters didn’t feel superfluous this time. It’s like everything finally clicked for me. My review had already gone long, but 4 crystallizes to me that these movies are really about (if they’re “about” anything) people deciding if they’ll choose between their duty to a faceless, oppressive system or their bonds, however fleeting, to other human beings. In my view, Shamier Anderson’s Tracker represents the “new generation.” He has a choice: will be go fully corporate and money hungry, or will he find the value in honor and brotherhood? This is a choice every character is forced to make at one point or another. Through his good old fashioned love of dogs, Wick shows him a different way to be and inspires him, which changes his worldview and adds to Wick’s legacy. It’s Wick’s decency, just as much as his ruthlessness, that makes him who he is.
And I thought the whole movie was funny! Just like you, I love that antique store fight from 3 because of it’s humor and old school flair. So much here had the same thing, from the nunchucks to the Adkins Sammo riff to the stairs–I was grinning the whole way through.
I thought these were great but ultimately shallow and overly mechanical movies before, and I hate most films that copy them. The high table talk was cheesy and pretentious. My recent series rewatch changed my mind, and the thematic consistency really stuck out to me. I actually found the high table talk here to be so well done. Plus, I’ve personally never seen an American movie in theaters with this dedication to showing combat.
I really enjoyed your review by the way Henry, and I think movies are always enjoyed the most when a viewer finds their own meaning in them, so it was great to read your take on the franchise!
“…people deciding if they’ll choose between their duty to a faceless, oppressive system or their bonds, however fleeting, to other human beings.”
Interesting perspective, but for me I’ll take that other Keanu Reeves quadrilogy that deals with exactly the same themes – The Matrix! (Ironically, I didn’t think much of the 4th entry in that franchise either!)
“In my view, Shamier Anderson’s Tracker represents the “new generation.””
Yeah I see that, funnily enough his final scene reminded me of the final scene Omar Epps has in Takeshi Kitano’s ‘Brother’ from 2000, only Anderson’s scene was thankfully less cringe worthy.
Actually never seen Brother (a big Kitano blind spot for me).
Starting with Chapter 2, I feel like the Wick films started to borrow themes (consciously or not) from The Matrix. I’m thinking especially of the scene where Winston snaps his fingers in 2 and an entire square full of people comes to a standstill. Chapter 4 and Matrix: Resurrections actually feel linked to me in a way (they were originally supposed to come out on the same day!). Both have a reflexive, self aware quality that I find really interesting.
I’m in Henry’s camp with regards to this review, and BTW, a GREAT review Henry!
As always you articulate your points wonderfully Paul, which makes disagreeing with you that much harder:-)
So, I’ll get to the one point on which we agree out of the way. Yes, the Tracker character was completely superfluous to the plot, which ties into questions as to why Part 4 didn’t feel the need to bring back characters from Part 3 which clearly hinted they had larger roles to play? I mean you if want an assassin with a ferocious German Shepherd, why not bring back Halle Berry’s Casablanca Continental Manager? Hell, she had 2! Also strangely missing is Asia Kate Dillon’s The Adjudicator (although if the replacement is Highlander’s The Kurgan, I ain’t complaining!) and even Said Taghmaoui’s High Table Elder is mysteriously replaced. Perhaps the delayed shoots owing to the pandemic meant they lost many of the actors’ availability.
Now, for the points where I may respectfully disagree…
“With nothing going on dramatically”…I think a point that is frequently missed is how suffused with regret and longing the JW movies are. And John Wick 4 is especially dense with an air of doomed fatality as the world’s most famous and prolific assassin seeks redemption only to find he has to cut an even bloodier path to find it. Interestingly, of the 4 films, only the 1st gave Wick the Moral High Ground to indulge in large scale carnage. Subsequent films actually show Wick digging himself into an even deeper hole even as he puts more dead bodies underground thanks to a stubbornness in disregarding the rigid rules of his own Shadowy World of Killers. He refuses to honor blood oath markers, and subsequently calls in markers of his own which put friends and acquaintances and their family in grave danger. So there are layers to these films.
“which made me think how much more enjoyable the Wick movies would be if they didn’t play things so poker faced and overly serious. “…..But, pretty much 90% of all action movies these days (I am referring primarily to Hollywood one) are snarky, jokey affairs where no stunt set piece can take place without some post-modern meta, jokey or snarky commentary immediately following it. Stahelski is aiming for something weightier and the tone of the Wick movies owe a lot to the Heroic Bloodshed John Woo era of 80s HK and classic Samurai films. There are themes of loyalty, brotherhood, redemption, retribution, karmic consequences etc threading it’s way through the carnage, but I suppose the characters discuss them with such solemnity it puts some people off. Objectively nothing wrong with either approach but when it comes down to preference, am more of a Stahelski guy. Have had my fill of jokey actioners, especially since The Rock and Ryan Reynolds seem to pull one out of their ass every 6 months.
Your comments on JW4’s stellar roster of Martial Arts Supremos are accurate but just the fact that they all got to star in such a major tentpole and all of them got scenes to shine is laudable, since they all needed this break.
Agree about Donnie, but given Yen’s largely lackluster Hollywood fare (2 disposable cameos in HIGHLANDER ENDGAME & BLADE 2 where he’s dispatched off disgracefully, an undercooked baddie in SHANGHAI KNIGHTS with an equally undercooked final fight with Jackie and even more forgettable support role in the dreadful XXX Return Of Xander Cage where Yen most likely met his match in the Colossal Ego department in the form of Vin Diesel) barring maybe ROGUE ONE, it’s such a pleasure to see him in a more substantial role here in JW4.
Adkins has fared even more poorly in mainstream fare and I shudder when his most high profile role to date has been “henchman who fights Dr Strange for 20 seconds”. Man couldn’t even make it to the posters of EXPENDABLES 2! So what a delight to see him get one scenery chewing and terrific action sequence all to himself here. And personally, as an overweight boy who was severely asthmatic, seeing Adkins in a fat suit kicking seven bells out of Reeves after puffing on an inhaler warmed the cockles of my heart!
Zaror, the real up-and-comer here can count MACHETE 2 as his closest brush with Mainstream success to date (or not really, because technically that movie bombed) and given what a disappointing slog INVINCIBLE was, it was great to see him as this almost indestructible Chief Henchman (although indestructible is a term that can describe at least 50% of the characters in this film) and my only regret is that he should have had a longer fight with Yen. 2 Ace Kickers showing us what fancy footwork is all about.
Far as I’m concerned, it MAY be possible for Fast X to pull a couple of outlandish set pieces out of it’s ass and even MI7 may raise the action bar…but right now, Mr. Wick is the Man To Beat!
Always enjoy checking out your opinions KayKay!
“Subsequent films actually show Wick digging himself into an even deeper hole even as he puts more dead bodies underground thanks to a stubbornness in disregarding the rigid rules of his own Shadowy World of Killers. He refuses to honor blood oath markers, and subsequently calls in markers of his own which put friends and acquaintances and their family in grave danger.”
I do like this element of the franchise, which really started with Chapter 2 (useless side note: this was the entry I reviewed, with JW being the only series here on COF where every installment has been reviewed by someone different!) when he refused to honor the marker. Its unusual to see a protagonist in so much peril that’s basically of their own making, but for me I kind of felt the series jumped the shark once he ended up in the desert in Chapter 3. There’s world building, and then there’s “now we’re just making this up as we go along.”
“But, pretty much 90% of all action movies these days (I am referring primarily to Hollywood one) are snarky, jokey affairs where no stunt set piece can take place without some post-modern meta, jokey or snarky commentary immediately following it.”
Agreed, and I hate it. For me the ‘Deadpool’ movies are the epitome of everything I dislike about Hollywood action filmmaking. Self-referential, frat boy style humor, topped off with supposedly edgy hyper violence, and the result is supposed to be exciting and hilarious. No.
“Adkins has fared even more poorly in mainstream fare and I shudder when his most high profile role to date has been “henchman who fights Dr Strange for 20 seconds”.”
Speaking of Deadpool, don’t forget that Adkins was the original Weapon XI when he doubled for Reynold’s in 2009’s ‘Wolverine: Origins’. How often do you wish the double was the main actor rather than the actual main himself!? 😛
I’m pretty sure even if Scott had that whole role, it wouldn’t have improved the film at all. Most people want to forget it exists.
As far as any “post modern, meta, jokey” stuff from action films. I can see why people think so about the Deadpool series, but maybe I’m just not looking hard enough to notice it.
“I’m pretty sure even if Scott had that whole role, it wouldn’t have improved the film at all. Most people want to forget it exists.”
You make a valid point. 🙂
Apart from Deadpool not being the Deadpool people love and a lot of the lore not matching with the comics, Wolverine: Origins, was a very entertaining action flick. It certainly was a masterpiece compared to the crap that was X-Men: The Last Stand, and Apocalypse. I really don’t understand the hate. I used to love the first X-Men film. But it hasn’t aged that well. It’s pretty disappointing. Especially spectacle wise. At least, Origins is embracing the comic book craziness in spirit.
Scott Adkins could have played a version of Deadpool, as a representation of an inner voice, who pops up from time to time to annoy Ryan Reynold’s version. Adkins has enough acting chops to pull it off.
I found that even if you ignore the source material, (like the film makers did) and treat it as a standalone film, Origins is still very poor and with a lot of problems.
It pretends to be an ensemble piece only to sideline almost everyone else, there’s no character development, the story and dialogue were stupid, and even the action was lousy. (What was up with Gambit getting knocked unconscious, and then re-appearing several miles away to rejoin the fight? Did the film makers think he was Nightcrawler?)
Deadpool 2 was right to condemn that movie. Scott Adkins practically plays a variation of Deadpool in the Accident Man films, so we do have that.
fat adkins >>>>>>> brendan fraser
XD
Thank you, Henry, for the review. And thanks to you and Paul for the conversation in the comment section. Some fun reading, and I’m really looking forward to seeing this one. I’m waiting a month so I can see it for my birthday with the kid brother, I’ve got so much faith in this.
I liked John Wick: Chapter 4 very much even though it didn’t end up being the ultimate action film I hoped for. And I don’t consider that “accepting mediocrity.”
I don’t take any pleasure in saying that Mr. Paul missed the boat on this one. Donnie Yen was fantastic in his role and I thought he was more than just some guy who was cool for the sake of being cool. He had a unique attitude to where he takes his role as an assassin seriously, yet still has his smart-ass moments and often comes across as a guy who just wants to get everything over with so he can go home.
I was expecting him to be like Daredevil, but he ended up not being unstoppable with the way he had to keep feeling/tapping around his environment and depending on sounds. It was also great to hear him use profanity which is very unlike Yen.
I do think that his first duel with Keanu happened too early, and it should have been saved for the end. But Donnie Yen vs. Hiroyuki Sanada ended up being the fight scene I didn’t expect or know that I wanted. It was a dream match-up.
I do agree that Shamier Anderson’s character didn’t belong in the film. Considering how many characters there were, his screen time could have been used for them instead. He didn’t have any defining characteristics either other than loving his dog and being a shotgun sniper.
While their fights against Keanu Reeves were not bad, I was disappointed that Scott Adkins and Marko Zaror didn’t have full fledged battles with him. After Keanu had good one-on-ones against Daniel Bernhardt, Common, and Mark Dacascos in the previous films, I was expecting him to repeat the same goodness with the new guys.
I thought Keanu would have to come up with something clever to beat Scott, and it kind of sucked how he just “went through him” with no techniques.
I get that there was a point to Marko’s ending, but I would have preferred an all out fight with him and Keanu that didn’t involve traffic, henchmen, stairs, and dogs getting in the way. The film makers are so concerned with upping the ante with unique action scenes that they seem to forget that keeping it simple can still be the best way to go.
Everything else about the stairway sequence was great though. Other than being technically sound, it was also hilarious in a good way when Keanu kept being knocked down and starting over when it had the potential to be annoying.
There’s rumors of a Chapter 5 happening, but everybody is taking a much earned break before they consider it. I’ll welcome it, but I’m happy if this is the end of the series.
“I don’t take any pleasure in saying that Mr. Paul missed the boat on this one.”
I may consider a re-visit next time the boat comes ashore. 🙂
“There’s rumors of a Chapter 5 happening, but everybody is taking a much earned break before they consider it.”
I’ve always wanted to see a big screen adaptation of ‘The Punisher: Purgatory’ comic book series, so if this does happen it’ll likely be the closest we’ll get to one!
I never heard of Punisher: Purgatory before and had to look it up. It does seem interesting. It has that “Heaven has a Hitman” vibe like in the Painkiller video games.
Some people think John Wick is what the Punisher films should have been more like, and I can see it being re-worked as a Punisher film. The Dolph Lundgren version was not well liked in the day but is now considered a cult classic. It’s not my favorite. The Thomas Jane Punisher had some interesting ideas, but wasn’t fully realized, while Punisher: Warzone was a step in the right direction.
Not as technically sound as John Wick, but some good action choreography nonetheless and brutal violence that made me laugh out loud. Skin Trade is the Punisher movie I wanted out of Dolph, and his reluctant team up with Tony Jaa was like Punisher’s reluctant team up with Daredevil.
I really enjoyed the movie too. An interesting observation of mine was that this entry included my least favorite action sequence of the whole series…followed back to back with what became my favorite sequence of the series. What are the odds.
Curious what those sequences were. I think the first sequence in Osaka and the top-down Dragon’s Breath scene were my favorites here.
I did find the round-about traffic scene to be a little excessive and the visual effects didn’t land for me. I think they bit off a little more than they could chew on that concept. It was really ambitious and I love how this series swings for the fences, but overall I think it’s my least favorite sequence of the series.
So imagine my surprise when immediately afterwards the room-to-room shotguns scene begins. Just when I thought it couldn’t get any better that seeing Keanu quad loading a Benelli they hit me with this scene in the next chapter. The choreography, those bonkers Dragon’s Breath effects, the really clever and creative camera movement… that scene combined just about everything I could want in a John Wick sequence.
I agree: the Dragon’s Breath sequence is what’s stuck with me the longest.
I personally loved the round-about sequence, but I know what you mean about the effects. A little blurry or unreal at times. I still loved the absurdity of him throwing guys into random cars. He forced some innocent drivers to kill lol. I also thought the dog stuff in that scene was brilliant.
It’s a parody of an action film. A marvelization of a modern action film. Disgusting.
After watching John Wick 4 again, and re-evaluating it, I feel like my critiques have grown.
Everything in Osaka was the best part of the movie and should have been the finale. The rest of the action scenes did indeed pale in comparison with the exception of the tribute to the video game, Hong Kong Massacre.
It’s really frustrating to watch Keanu’s fights with Scott and Marko where there’s constant interruptions and no real flow or focus to them. I would expect such a thing from a typical Hollywood film, but not a franchise spearheaded by stuntmen that pays tribute to international action cinema.
I worry about film making going into a phase where studios are embarrassed to make movies for people who like classic action films and desperately try to appeal to an outside market who will never watch while pissing off the core base. I’m hoping January 2024’s releases of Beekeeper, Bricklayer, and Mayhem give me a good fix.