Part of what makes the World of John Wick so engaging is that even after more than a decade, it’s still draped in mystery. When news broke that they’d be expanding the world with spinoffs, I feared they might pull the curtain too far back. Ballerina maintains this world ambiguity, though, never overexplaining the lore or motivations. It understands we’re here for the neon-lit action, delivering in spades. The film also proves this series doesn’t necessarily need John Wick to succeed. That said, Keanu Reeves is in Ballerina more than the trailers suggest, which is a double-edged sword. While Reeves is always welcome, his presence feels like training wheels that Ballerina doesn’t need.
This is Ana de Armas’ movie, once again demonstrating that she has all the making of a Hollywood star. De Armas plays Eve Macarro, a ballerina who is taken to Anjelica Huston’s Director following her father’s murder. Trained to be an assassin, Eve’s upbringing is full of blood, sweat, and tears, although she still arguably doesn’t suffer as much as de Armas’ depiction of Marilyn Monroe. Refreshingly, Eve isn’t a flawless action heroine who hits the ground running. Yes, she leaves a trail of bodies wherever she goes. Since she’s starting out, though, Eve takes as many punches as she serves. As expertly choreographed as the fights are, there’s an impromptu nature with Eve constantly thinking on her toes.
Eventually, Eve tracks down the man who killed her father. He’s merely known as the Chancellor (Gabriel Byrne). Although Byrne fits into this world well, the revenge plot is fairly bare bones. Granted, John Wickalso had a straightforward revenge story, but the fact that a dog’s death got the ball rolling at least provided a unique hook. What if Eve wanted revenge for her dead cat? There was also a sense of mystery to who John Wick was going in. Ballerina lacks any twists or turns. Early in the film, somebody asks Ian McShane’s Winston if Eve knows who her parents are, suggesting they might be prominent figures in this universe. In the end, though, Eve’s father is just another assassin, and we learn nothing about her mother.
The closest thing to a surprise comes about halfway through when Eve realizes she has a connection to another assassin. This sets up a potentially intriguing dynamic, but Ballerina almost immediately moves on from this revelation as if it never happened. Why it was even left in the movie is questionable. Norman Reedus feels underutilized as a character who I’m not sure is even given a name, although most viewers will likely call him Daryl anyway. The film also could’ve done more to flesh out Eve’s relationship with a little girl she’s determined to protect.
While the plot is half-baked, Ballerina is a worthy spinoff thanks to de Armas’ natural charisma and the high-octane action this franchise is famous for. Does it come close to topping the masterclass that was John Wick: Chapter 4? Well, that’s a gold standard nobody can hope to top anytime soon, especially without Chad Stahelski behind the camera. Director Len Wiseman still knows his way around a set piece, displaying some of the best stunts we’re bound to see all year. It might not be perfect, but Ballerina sticks the landing nonetheless.