Ballerina – Film Review

From the World of John Wick: Ballerina, directed by Len Wiseman, elegantly pirouettes into the blood-soaked corridors of the John Wick universe with style, precision, and a haunting emotional core. As the fifth installment in the franchise—and the first spin-off film—Ballerina treads the delicate line between satisfying franchise fans and carving out its own distinct identity. Anchored by a fierce yet vulnerable performance from Ana de Armas, this action thriller delivers a pulse-pounding and surprisingly poignant tale of vengeance, family, and legacy.

Set between John Wick: Chapter 3 – Parabellum and John Wick: Chapter 4, Ballerina smartly expands the Wick universe while honoring its roots. The film opens with a striking prologue that establishes Eve Macarro’s (Ana de Armas) tragic past: the daughter of assassins betrayed by a shadowy organization known as the Cult. Wiseman, known for his kinetic Underworld series, brings his signature visual flair—moody lighting, neon-lit backdrops, and expertly choreographed violence—making the film both a visual feast and a visceral ride.

The screenplay by Shay Hatten wisely taps into the existing lore, threading in familiar faces like Winston Scott (Ian McShane), Charon (Lance Reddick in his final screen appearance), and of course, the enigmatic John Wick (Keanu Reeves). Yet, it never feels forced or derivative; these appearances feel earned, weaving Eve’s story seamlessly into the broader tapestry.

At the heart of Ballerina is Ana de Armas, who brings a raw magnetism and emotional intensity to Eve. De Armas balances grace and grit with remarkable finesse, convincing both as a deadly assassin and a woman haunted by her past. Her physicality—honed through rigorous training—shines in the film’s ballet-infused fight sequences, which blend the artistry of dance with brutal efficiency.

Eve’s journey is marked by tragedy, betrayal, and a desperate search for answers, and de Armas captures every note of vulnerability and steely resolve. Her dynamic with the supporting cast, particularly with Norman Reedus’ Daniel Pine and Gabriel Byrne’s menacing Chancellor, adds emotional depth to the action-heavy narrative.

Wiseman’s direction elevates Ballerina’s action sequences to operatic heights. Each fight is a carefully choreographed dance of blades, bullets, and balletic movement. The standout sequences—without giving away specifics—feature inventive set pieces that utilize confined spaces, rooftops, and even a theater stage, turning each battle into a lethal performance.

The cinematography by Romain Lacourbas is particularly effective, capturing both the fluidity of Eve’s movements and the savage efficiency of her kills. The use of contrasting warm and cold color palettes highlights the duality of Eve’s world: the elegance of ballet versus the brutality of her assassin’s trade.

One of the film’s triumphs is its commitment to practical effects and stunt work. The visceral impact of each fight—punctuated by bone-crunching sound design—immerses the audience in the chaos, avoiding the weightlessness that sometimes plagues modern action films.

While Ballerina is undeniably an action thriller, it also delves deeper into themes of family, identity, and revenge. Eve’s journey is as much about reclaiming her past as it is about avenging her family. The script doesn’t shy away from exploring the trauma of growing up in a world of violence, and the impact that legacy has on Eve’s psyche.

Gabriel Byrne’s Chancellor is a compelling antagonist, exuding a calm menace that serves as the perfect counterpoint to Eve’s fiery determination. His performance hints at a history of betrayal and manipulation, adding layers to the film’s central conflict. Meanwhile, Anjelica Huston’s return as the Director is a welcome addition, reminding audiences of the complicated hierarchy that governs the Wick universe.

Norman Reedus delivers a grounded and sympathetic turn as Daniel Pine, an assassin with his own complicated ties to the Cult. His chemistry with de Armas feels genuine, offering moments of quiet reflection amidst the chaos. Lance Reddick’s final performance as Charon is bittersweet, reminding fans of the loyalty and stoicism that defined his character throughout the franchise.

Keanu Reeves’ cameo as John Wick is both thrilling and thematically relevant. Wiseman smartly uses Wick as a narrative catalyst rather than overshadowing Eve’s story. His scenes are brief yet impactful, reinforcing the moral complexities of the assassin’s world and testing Eve’s resolve.

Despite its strengths, Ballerina isn’t without flaws. The pacing occasionally lags in the second act, particularly during some expository sequences that slow the film’s otherwise relentless momentum. While the action is consistently excellent, a few moments feel overly familiar, echoing scenes from previous installments. Additionally, the Cult’s motivations are at times thinly sketched, lacking the same nuanced world-building that defined the High Table and its allies.

That said, these are minor quibbles in an otherwise thrilling ride. Ballerina’s ability to stand on its own while enriching the John Wick mythos is a testament to Wiseman’s direction and Hatten’s script.

Ballerina is a stylish, action-packed, and emotionally resonant entry in the John Wick franchise. Ana de Armas proves herself a formidable lead, carrying the film with a blend of vulnerability and lethal grace. Wiseman’s direction ensures that every punch, kick, and gunshot feels earned, while the supporting cast adds depth and dimension.