Quote from Alex bobby on June 7, 2025, 4:21 AM

Ballerina: Tiresome Cash-Grab or Worthy Addition to the John Wick Canon?

With Ballerina — or to give it its full, franchise-cashing title, From the World of John Wick: Ballerina — Lionsgate steps once more into the bullet-strewn universe of assassins, hotel managers, and sacred coins. Following four Keanu Reeves-led John Wick films and the limp spinoff series The Continental, the big question is: does Ballerina justify its existence? Or is it just another limp cash-grab?

The answer lies in the film’s lead: Ana de Armas.

Set between John Wick: Chapter 3 – Parabellum and Chapter 4, Ballerina tells the story of Eve Macarro, a ballerina-trained assassin from the Ruska Roma, on a personal quest for revenge against those who murdered her father. De Armas, who already proved her action chops as the electric Paloma in No Time To Die, takes centre stage here — and it’s nearly enough to justify the film’s place in the canon.

A Spinning Start (With a Limp)

Let’s get one thing clear: Ballerina has issues, and most of them stem from the script. Shay Hatten, who also co-wrote previous Wick entries, turns in a disappointingly thin screenplay. Dialogues like “a bullet is not good or evil” land with a dull thud, and many subplots are introduced with intrigue only to be dropped like a goon mid-fight. The result is a sluggish first act weighed down by exposition and characters that don’t get the screen time they deserve.

Talented actors like Catalina Sandino Moreno (as the mysterious Lena) and Norman Reedus (as the shady arms dealer Daniel Pine) are woefully underused, there arcs serving more as plot furniture than integral story elements. For a franchise that once prided itself on rich, mysterious lore, this feels like a backward step.

Enter: Ana de Armas, the Real Deal

But then comes the action — and with it, Ana de Armas.

Once the movie stops trying to be Wick-ian lore-heavy and leans into slick, no-frills violence, Ballerina becomes something else entirely: a brutally fun, stripped-down assassin flick that lets its star do what she does best. De Armas’s performance is all in — from fierce shootouts to gritty hand-to-hand combat. She’s fiery where Reeves’ John Wick is ice-cold, raw where he is reserved. That contrast works in the film’s favour, offering a fresh energy to the John Wick universe.

Rumours of reshoots and behind-the-scenes reshuffling — including reports that franchise architect Chad Stahelski had to step in for director Len Wiseman — begin to make sense. The latter half of the film boasts a noticeable uptick in quality, as if someone finally remembered what makes these films tick.

Two standout sequences highlight this tonal shift: a grenade-hurling chaos-fest during an ambush meeting and a flamethrower face-off that rivals some of the best set-pieces in the main series. These scenes are kinetic, brutal, and stylish — exactly what fans came for. They also let Eve shine as a uniquely scrappy fighter, adapting to her environment with grit and ingenuity. It helps that de Armas performed many of her own stunts, and her commitment is palpable on screen.

Wick, Who?

For those worried that the Ballerina universe can’t stand without Keanu Reeves — don’t. Yes, the Baba Yaga makes an extended cameo. And yes, it’s a thrill to see him again. But for once, it’s not all about him. In fact, by the time he shows up, you may find yourself more invested in Eve than in John. That’s not a knock on Reeves — it's a testament to the intensity and presence de Armas brings to her role.

Gabriel Byrne as the film’s primary antagonist, The Chancellor, adds some gravitas, even if the script doesn’t give him much to do. Lance Reddick’s brief appearance as Charon, in one of his final performances, is bittersweet and respectfully handled.

So, Is It Worth It?

Despite its flaws — a bloated runtime, meandering first act, and underwritten side characters — Ballerina does just enough to earn its place in the John Wick canon. It’s not in the same league as Luc Besson’s Nikita or Joe Wright’s Hanna, but it has more bite than many recent action films and proves that the franchise doesn’t have to revolve solely around Keanu.

Ana de Armas is the heart, soul, and lethal core of Ballerina. Her performance elevates the film from potential disaster to a thrilling, if imperfect, ride. If the franchise leans more into this kind of storytelling — visceral, character-driven, and stylish without the lore overload — then the Wick universe might just have some life left in it.

And yes, you’ll want to see this ballerina dance again.

Conclusion:
Ballerina may stumble out of the gate with a sluggish first act and underdeveloped side characters, but thanks to Ana de Armas’ committed, high-octane performance and a second half packed with inventive, well-executed action, it ultimately finds its rhythm. While it doesn’t reinvent the wheel or quite reach the heights of the main John Wick saga, it proves that the franchise can survive — and even thrive — beyond Keanu Reeves. Equal parts stylish and savage, Ballerina is a flawed but worthy addition to the canon, and it leaves just enough intrigue to make us want more from Eve Macarro’s deadly dance.