Directed by Len Wiseman — Screenplay by Shay Hatten.
Only a select few action films of the last ten to fifteen years have become the household name and critical success story that John Wick is. Multiple effective sequels later (as well as an apparently only so-so spin-off miniseries titled The Continental), and now we have the first spin-off film in the franchise. With the clumsily titled From the World of John Wick: Ballerina, the shepherds of the franchise hope to build another film series within the same universe without having to always rely on the presence of the assassin played by Keanu Reeves. At the same time, the film’s title and marketing, which have emphasized the fact that Reeves makes an appearance, still use Wick as a crutch. Admittedly, it does seem slightly desperate, but, in 2025, at a point in time when even Disney can’t rely on a Captain America movie without Chris Evans to make money, a built-in audience is key when launching something quasi-new on the big screen. Those willing to take a chance on Ballerina will be treated to a film that has some of the thrills of the Wick films, but which, however, also struggles in notable areas.
Mostly set between John Wick: Chapter 3 – Parabellum and John Wick: Chapter 4, From the World of John Wick: Ballerina, from Underworld-director Len Wiseman, follows Eve Macarro (played by Ana de Armas), a Ruska Roma ballerina assassin, whose father was killed by another mysterious group of assassins when she was just a child. When, now years later, Eve encounters a member of said group, Eve decides to pursue the group and have her revenge by any means necessary.
When John Wick first spellbound audiences, it was because of its incredibly well-executed action, its fan-favorite lead, its memorable antagonists, and, perhaps chiefly, because the revenge narrative that kicks it all off got your blood boiling and was genuinely distressing. When this film was first announced, this was the formula that you expected the filmmakers to try to imitate with Ballerina. So, does it live up to that tried and true formula?
Well, to be frank, I think the answer is only partially. Where the film is lacking is in its writing. Shay Hatten is the credited screenwriter, and he has plenty of experience with this franchise, as he co-wrote both of the previous two John Wick entries (both of which I really enjoy), but he also co-wrote Zack Snyder’s Rebel Moon films, and Ballerina has a similar generic quality to its concoction. The central cause for a revenge story here is far too run-of-the-mill to be memorable in the way that Wick’s is, and the set-up for the revenge narrative is by far the film’s weakest and blandest element. If it were to be judged only on the writing, set-up, and plot, then it would likely largely be deemed a misstep because of how threadbare and stale it often feels.
Where the film livens up, however, is with its central star and with the action. Ana de Armas first got a taste of action movie stardom with her brief scene-stealing appearance in No Time to Die, and that alone made her an exciting choice for a John Wick spin-off film. Though her character is, admittedly, not nearly as entertaining or bubbly here as she was in her Bond flick, Ana de Armas has solid screen presence and executes the action scenes credibly. Plus, like the marketing stressed, Keanu Reeves does appear in the film, and his presence is definitely felt without it ever taking away from Ana de Armas. Rather, it sharpens your interest in both the generic narrative and the overwhelming action.
There are somewhat conflicting reports as to who exactly shot and arranged the film’s primary saving grace, the action. Though Wiseman and John Wick-director Chad Stahelski claim Stahelski only oversaw additional photography for a couple of weeks, there have been reports that claim Stahelski oversaw massive reshoots for months so as to make the action shine. Regardless of who you believe, the fact of the matter is that the action on show here is more often than not the kind of inventive (sometimes even tongue-in-cheek), intense, and clear gun-fu action that Stahelski has popularized. Ballerina is chock-full of action to such an extent that, in the second half, it feels like they’re trying to make up for its deficiencies elsewhere, and, indeed, the good does ultimately outweigh the bad, as the wild action is worth the price of admission on its own. That said, the film probably doesn’t have enough of a narrative to chew on to fully satisfy anyone other than die-hard John Wick fans.
7.5 out of 10
– Review written by Jeffrey Rex Bertelsen.
I'm Jeffrey Rex 