Keanu Reeves, Donnie Yen, Rina Sawayama, Laurence Fishburne, Ian McShane, Ana de Armas, Mads Mikkelsen
He found peace, but war found him. John Wick: Chapter 5 – The Ghost opens three years after the duel in Paris, in a world that believes the Baba Yaga lies buried in a New York cemetery. In reality, John (Keanu Reeves) is living a life of fragile tranquility in a remote, mist-shrouded fishing village in Okinawa. He has traded his guns for nets, existing as a ghost, finally mourning his wife Helen without the noise of gunfire.
However, the vacuum left by his “death” has destabilized the criminal underworld, leading to a brutal civil war within the High Table. Enter Valerius (Mads Mikkelsen), a cold, draconian new Chairman who views the legend of John Wick not as a warning, but as a cancer that inspires rebellion. Valerius initiates “The Great Purge,” a scorched-earth protocol designed to eliminate anyone who ever offered aid to the boogeyman. Winston (Ian McShane) finds his reinstated position in peril, and the Bowery King’s (Laurence Fishburne) underground empire comes under heavy siege.
The silence of Okinawa is broken when a High Table death squad tracks John down. Their mission isn’t just assassination, but extraction—they intend to use him as the ultimate leverage to solidify Valerius’s rule. In their arrogance, they make a fatal error: they burn down the small seaside shrine John built for Helen, the only tether he had left to his humanity. The man dies, and the Ghost rises.
This time, John isn’t running away; he is hunting. Realizing that the High Table will never stop until it is dismantled, John seeks out unlikely allies. He intercepts his former friend-turned-foe Caine (Donnie Yen) and the vengeful Akira (Rina Sawayama), forcing a truce between them to face a greater evil. They are joined by Rooney (Ana de Armas), now a deadly matriarch of the Ruska Roma, who seeks blood for her own family’s persecution.
Together, they launch a suicidal, direct assault on the High Table’s impregnable fortress in the Swiss Alps. The film sheds the “rules” and “consequences” that defined the previous chapters. There are no markers, no parleys, and no excommunicados—only total annihilation. John moves through the snowy peaks and brutalist corridors like a phantom, delivering a final, visceral symphony of violence to prove that while you can kill the man, you cannot kill the Ghost.