“Ballerina” is an action movie that struggles to shake off the colossal shadow cast by the “John Wick” series, one of the best modern action franchises. Set in the same world as John Wick, this spin-off takes place between “John Wick: Chapter 3 – Parabellum” and “John Wick: Chapter 4,” but it faces the difficult task of living up to the intense and visually stunning action of its predecessor. While the movie does have its moments of fun and impressive action, it can’t quite escape the comparisons, especially when its flaws are directly contrasted with the tight filmmaking style of Chad Stahelski’s iconic series.
That said, much like “Mission: Impossible – The Final Reckoning,” the film requires a bit of patience in the first half. But once the action kicks in, the film delivers the type of chaotic fun that fans expect from a “John Wick” spin-off. The final act is one prolonged, utterly over-the-top action sequence, and while it veers into absurdity, it’s undeniably entertaining and what the audience craves from a film like this.
A Familiar Revenge Plot
The movie follows Eve Macarro (Ana de Armas), a dancer-turned-assassin, who first appeared briefly in “John Wick: Chapter 3 – Parabellum.” After her father is murdered by a group of assassins led by the mysterious Chancellor (Gabriel Byrne), Eve embarks on a revenge quest to track down the people responsible. She is taken under the wing of Winston Scott (Ian McShane), who sends her to the Director (Anjelica Huston) of the Ruska Roma, a tribe of assassins trained to combine the art of killing with the grace of dance.
Eve’s path for vengeance begins when she spots one of the killers bearing the same mark as the men who took her father’s life. The quest is simple: kill those responsible. It’s the type of revenge story we’ve seen before in the “John Wick” universe — Wick avenged his dog; Eve will avenge her father. However, it’s this straightforwardness that makes the film so watchable. Once Eve tracks down the mysterious Chancellor, she begins a violent path of destruction, burning his empire to the ground. Along the way, she crosses paths with a severely underused Norman Reedus, who gives Eve a clue that leads her right to the Chancellor.
The film borrows heavily from the “John Wick” formula but doesn’t quite have the same tight narrative or deep emotional engagement that makes Wick’s story so impactful. Much of “Ballerina” feels like it’s trying to recapture the magic of the Wick universe but doesn’t quite land in the same way.
Early Struggles with Action
At first, “Ballerina” struggles to match the clean, tight action editing that made “John Wick” stand out in the action movie genre. Director Len Wiseman leans on shaky cam and erratic editing to obscure the shortcomings of the fight choreography. These tricks are used to create a sense of chaos but feel out of place when compared to the meticulously crafted, long shots of fight scenes in the Wick films. Cinematographer Romain Lacourbas tries to keep the action readable by keeping the camera at a distance, but the jarring cuts and swinging camera in the early action sequences are hard to ignore.
This lack of finesse is especially noticeable if you’ve watched a “John Wick” film recently. The earlier action scenes in “Ballerina” lack the crispness and fluidity that define the Wick franchise, and while they do the job, they’re far from the dazzling choreography that has become a hallmark of modern action cinema.
A Shift in Momentum
Things start to turn around once Chancellor (Gabriel Byrne) re-enters the story. His presence brings a much-needed focus to the plot and a level of intensity that was previously missing. One of the standout sequences occurs in a snow-covered restaurant, a scene that elevates the entire film. The choreography in this scene feels much more in line with the John Wick style: tight, inventive, and above all, fun. There’s a lightheartedness to the action here, as the film embraces some comedic influences, even referencing Buster Keaton and The Three Stooges in a throwaway gag. The tone of the movie shifts, and it’s clear that the energy has picked up.
The momentum continues to build in the film’s final third, which is essentially one long, chaotic action set piece. While the plot becomes more absurd as the film progresses, the sheer fun of the action makes up for the lack of depth in the narrative. The movie’s final act is an exhilarating hunt, with Eve being pursued by an entire village of people who want her dead. It’s a sequence filled with zany stunts and a level of chaos that makes you think of silent comedy, but in the form of brutal action.
The John Wick Cameo: Fan Service or Necessary?
One of the film’s big selling points was the appearance of John Wick himself. However, this cameo feels a bit forced. While it is a treat to see Keanu Reeves back in action, his inclusion seems more like fan service than a necessary part of the plot. It feels as though the film is trying to cash in on the popularity of Wick, but by this point in the movie, it doesn’t add much to the story. His appearance is brief but impactful, and while he still dominates the screen, it feels like the film could have done without it.
Ana de Armas: A Capable Lead, but Not a Game-Changer
Ana de Armas delivers a solid performance as Eve Macarro, but she doesn’t quite reach the level of intensity or memorable presence that Keanu Reeves brought to his role as John Wick. The issue is that while de Armas is certainly capable in the action sequences, she doesn’t always bring the same grounded realism that made Wick’s character so relatable. Part of the charm of the “John Wick” films is seeing a man who struggles physically in battle, even as he is incredibly skilled. This adds a layer of authenticity to the action. Eve, on the other hand, is almost too fluid in her movements, making her fight scenes feel somewhat unreal. However, when it comes to the dramatic beats, de Armas handles them well and avoids the trap of overacting.
The dialogue, however, isn’t doing her any favors. Much like the earlier “Wick” films, the script by Shay Hatten has moments of cringe-worthy writing. There are cheesy one-liners that don’t really work, like “When you deal in blood, there must be rules.” These kinds of lines take away from the film’s tension and feel out of place in a movie that thrives on action and suspense. The writing feels less polished than what we’ve come to expect from the Wick franchise, where the action often speaks louder than words.
Dumbed-Down Action and Tactical Missteps
One thing that’s noticeably lacking in “Ballerina” is the attention to tactical realism that the “John Wick” series often strives for. In several scenes, masked assassins seem to just run blindly into battle, often without any real strategy. One particularly absurd moment occurs in an armory, where a group of armed men charges in to take on Eve, surrounded by grenades. It’s a ridiculous situation that further underscores the lack of thought given to the action, which feels more like an exercise in chaos than anything else.
This tactical clumsiness is jarring, especially when you consider how carefully constructed the action sequences are in the John Wick films. But again, these moments of absurdity can be overlooked when the movie is hitting its stride in the final act, where the chaos and absurdity work in its favor.
The Verdict: A Solid, But Flawed Action Flick
In the end, “Ballerina” is a fun, action-packed ride that delivers on its promise of high-octane stunts and thrilling sequences, even if it never quite reaches the level of sophistication set by the “John Wick” films. It’s a worthy addition to the franchise’s universe, even if it feels like a bridge between two bigger films. The action does eventually tighten up, and by the end, the movie offers a satisfying amount of chaos and fun, even if it occasionally stumbles with some clunky dialogue and underwhelming choreography.
While it doesn’t reinvent the wheel, “Ballerina” will likely satisfy fans who are craving more from the “John Wick” universe. It’s an entertaining, albeit imperfect, action film that delivers on spectacle, even if it lacks the depth and polish of its predecessors.
