Ballerina Review: Is the John Wick Spinoff a Success?

In a captivating 20-minute segment within Ballerina — or From the World of John Wick: Ballerina — the film delves deeper into the John Wick universe, offering fresh insights and expanding upon its established lore. These pivotal scenes break free from the conventional expectations associated with the Wick series, introducing innovative elements that are truly refreshing for viewers. However, the overall experience is marred by the fact that much of the film feels like a mere imitation of the Wick formula, even as it claims to present something original and groundbreaking.

The primary challenge facing this Ana de Armas-starring action spin-off lies in its struggle to find a distinct identity. Spanning 125 minutes, Ballerina often feels caught between honoring the core principles of its franchise origin and forging its own unique narrative journey. While some entertaining moments do arise, the film ultimately presents a disjointed experience, a reflection of its chaotic production history. Notably, Ballerina began filming long ago, and it marks the final screen appearance of Lance Reddick, who sadly passed away in early 2023. Consequently, the film emerges as less than the sum of its fragmented components, despite a barrage of explosions, headshots, and intense violence.

Unraveling the Intriguing Plot of Ballerina

Following the tragic assassination of her father by a shadowy cult led by a man known as the Chancellor (played by Gabriel Byrne), young Eve (portrayed by Victoria Comte, who bears a striking resemblance to de Armas) finds herself rescued from danger by Winston (played by Ian McShane), a central character in the Wick saga. Winston, the proprietor of the exclusive Continental Hotel for assassins and a longtime friend of John Wick, takes Eve under his wing and delivers her to the formidable trainer known as the Director (played by Anjelica Huston). This character last appeared in John Wick: Chapter 3 – Parabellum, where she heads the Ruska Roma, a Belarusian ballet institution intertwined with the criminal underbelly linked to John Wick’s origins. Within this context, she serves as a strict mentor, guiding Eve through her ballet training — a discipline she learns alongside the dangerous arts of combat and firearms, though the practical application of ballet skills remains questionable throughout her journey to become a professional assassin.

Ballerina intersects with Parabellum as we witness a brief encounter between Eve and the legendary John Wick himself (played by Keanu Reeves), also known as the infamous Baba Yaga. This fleeting interaction establishes them as fundamentally opposing characters. While Wick strives to escape the perilous world of contract assassins — a recurring theme throughout his cinematic journey, particularly after avenging his beloved puppy — the impressionable Eve aspires to immerse herself in Wick’s deadly realm to seek vengeance against those responsible for her father’s murder.

Ana de Armas and Keanu Reeves share a moment in “Ballerina.”
Credit: Courtesy of Lionsgate.

In an effort to carve out her own identity within the narrative, Eve faces numerous challenges as she struggles with her hand-to-hand combat skills and the complexities of close-quarters gunplay. This is captured through the lens of esteemed cinematographer Romain Lacourbas and a talented ensemble of stunt coordinators, many of whom have experience with the John Wick franchise, delivering action sequences in the series’ trademark fluid style. Eventually, her mentor Nogi (portrayed by Sharon Duncan-Brewster) encourages Eve to redefine her approach to combat, advising her to fight on her own terms rather than allowing her male peers to dictate the rules. “Fight like a girl,” Nogi quips with a knowing smile, suggesting that Eve should leverage her agility and intelligence instead of brute force. This advice sparks a realization in Eve. However, the ensuing combat scenes and shooting exercises largely replicate the same choreography and blocking as previous sequences, merely adding a few new techniques.

These moments illustrate a recurring theme where the dialogue hints at a fresh direction for the series, while the action sequences continue to echo familiar John Wick tropes. The same Judo takedowns and rapid-fire gunplay are executed with similar intensity and style but lack the impact that has become synonymous with the franchise. When Eve embarks on her inaugural mission to a nightclub, the vibrant neon pink and blue ambiance feels strikingly reminiscent of earlier Wick films, with the action unfolding against the backdrop of dancers in slow motion. Scene after scene, these eerily familiar elements host battles that feel like less refined versions of past encounters, lacking the finesse that has defined the series.

Disjointed Elements in the Narrative of Ballerina

The narrative of “Ballerina” struggles with cohesion.
Credit: Murray Close

As the plot progresses and Eve delves deeper into her quest for vengeance, she attempts to gather intel on her target, leading her to an enigmatic assassin portrayed by Norman Reedus, whose role feels disappointingly limited. At this point, Ballerina grapples with conflicting motivations that ultimately undermine Eve’s character development. Unlike John Wick, whose motivations are deeply rooted in emotional loss — exemplified by the mantra that “it was never just a puppy” — Eve lacks the same emotional depth to carry the weight of this grief-laden narrative.

On one hand, Eve is fueled by a burning desire for vengeance and a profound rage. Conversely, her story becomes intertwined with that of a young girl whom she empathizes with, who becomes a target for the same cult that once endangered Eve. However, this representation of Eve’s lost innocence fails to add complexity to her journey or significantly influence the overall narrative. In fact, it emerges as just one of the many inconsistencies that contribute to the perplexing experience of watching Ballerina.

Norman Reedus’ character is underutilized in the film.
Credit: Larry D. Horricks for Lionsgate.

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From the outset, Chancellor, played by Gabriel Byrne, emerges as the primary antagonist, orchestrating the brutal interrogation and murder of Eve’s father. Yet, Eve’s relationship with her adversary remains distant. In the prologue, she never sees his face, a deliberate choice clarified when they finally meet, and Eve fails to recognize him. Despite the expectation that his actions should create a deeply personal mission for Eve, it remains ambiguous whether she ever uncovers his true identity beyond being the leader of the organization she seeks to dismantle. As a result, she is kept at a distance from the most compelling and tragic aspects of her own story.

The film occasionally suffers from a lack of urgency, exacerbated by these narrative inconsistencies. The action sequences often lack the personal stakes that should drive Eve’s motivations, and the staging of her scenes feels disconnected from her character arc. Her movements rarely feel like natural extensions of her identity; instead, the choreography mimics the established fighting style of Wick from previous films. Despite the film’s titular focus on Eve’s ballet background, this unique skill set is noticeably absent during critical moments, even in scenes that could logically benefit from her agility, such as a fight on ice. Furthermore, the exploration of the psychological toll of killing on her conscience is quickly abandoned, leaving a sense of unresolved tension.

Compounding these issues, many fight sequences lack a coherent understanding of spatial dynamics, leading to a disorienting viewing experience. The resulting product feels like a testament to the challenges faced during Ballerina‘s production, marked by extensive reshoots reportedly directed by Chad Stahelski, the seasoned John Wick series director, rather than the credited director Len Wiseman. The evidence of these reshoots is visible in moments of awkward ADR (Automatic Dialogue Replacement) and jarring digital face replacements to obscure de Armas’ stunt doubles.

Finding the Unique Identity of Ballerina Beyond the John Wick Franchise

The late Lance Reddick delivers a memorable performance in “Ballerina.”
Credit: Larry D. Horricks.

There are moments in Ballerina where the action showcases an imaginative flair, complemented by a soundtrack influenced by Tchaikovsky and Vivaldi (crafted by composers Tyler Bates and Joel J. Richard), alongside an abundance of over-the-top elements like flamethrowers and grenades. Nevertheless, the action sequences are often marred by excessive digital effects that undermine the grounded, visceral, and blood-soaked experiences that have made the John Wick films so exhilarating. Unfortunately, the film struggles during its attempts to fit into the Wick narrative — which constitutes a significant portion of its runtime.

However, a significant shift occurs midway through the film, presenting a sequence that diverges from the typical Wick formula in its setting, themes, and choreography. This leads to a thrilling segment of action and storytelling that may justify the ticket price. While the hour-long build-up to this moment can feel tedious, it rewards viewers when Eve infiltrates the cult’s stronghold nestled in a charming, snow-covered mountain town, resulting in a series of unexpected and wild developments.

Anticipate the significant midway shift in “Ballerina.”
Credit: Murray Close for Lionsgate.

A key part of the allure in the Wick franchise lies in its portrayal of gritty urban landscapes that reveal hidden criminal networks. Unfortunately, this aspect is largely absent in Ballerina, making Eve’s initial nighttime missions through bustling cities feel like lifeless rehashes. However, her daytime escapades in the serene mountainside take an unexpected turn, as ordinary people — from families and tourists to local business owners — unwittingly become embroiled in the chaos. This stark contrast to the “normal” life that Wick yearns for, and that Eve intentionally abandons, unveils dark secrets lurking beneath the surface of everyday existence.

This jarring shift results in some of the series’ most exhilarating action scenes yet, featuring everyday objects in surprising roles. Yet, this captivating sequence is short-lived, quickly overshadowed by poorly executed melodrama, where plot twists and emotional beats lack the necessary weight and time to resonate. The preceding action set pieces are so ridiculously entertaining that it is hard not to feel shortchanged when they are ultimately — and predictably — derailed by a half-developed storyline.

By the film’s conclusion, any remaining traces of individuality that Ballerina possesses get overshadowed by its connection to the broader franchise. In a nod to the Wick aesthetic, de Armas adopts a wardrobe reminiscent of John Wick before the credits roll. However, rather than feeling like a natural extension of her character, it comes off as a flimsy imitation — a regrettable metaphor for the film’s overall identity.

Ballerina is set to hit theaters on June 6.