The success story of the John Wick franchise has been a shining light over Hollywood. Starting life as an indie actioner that nearly got sent straight to DVD, the first film quickly received enormous praise from critics and audiences for its seamless world-building full of interesting characters and exciting action captured in wide-angled long takes that elevated the genre at the time. The film went on to become a hit, leaving a wave of influence over modern action cinema, all while opening the door for bigger, better sequels that continuously topped themselves. After the iconic hitman’s death at the end of Chapter 4, the world of John Wick expands with a spinoff, set between the events of the third and fourth film.
After several delays and reports of reshoots spearheaded by franchise director Chad Stahelski that supposedly redid a majority of the film’s action, the first big-screen expansion of the world inhabited by Keanu Reeves finally arrives. This new entry doesn’t come close to the greatness of the core John Wick films, but it delivers precisely the right amount of slick and bloody thrills.
Courtesy Lionsgate
After her father was brutally murdered in front of her by the shadowy cult leader known as “The Chancellor” (Gabriel Byrne), Eve (Ana de Armas) is taken in by Winston (Ian McShane) who sends her to the Ruska Roma tribe lead by The Director (Angelica Huston). Trained to be an assassin through the mold of a ballerina, Eve quickly becomes advanced in art of killing. As she’s sent on her first mission, Eve discovers a signature scar on the arm of one of her victims; the same scar that her father’s killer wore. This leads her to uncover the identity of the man responsible, sending Eve on a quest for revenge.
Directed by Len Wiseman (Underworld, Live Free or Die Hard), Ballerina doesn’t come close to the greatness of the preceding John Wick films, but as a spinoff that largely exists to build out the world after Keanu Reeves’ tenure, it does the job. Regardless of the reports indicating massive reshoots, the finished film is a fun, bullet-ridden romp through a vibrant and familiar world. It won’t get any high marks for its plotting or character depth, but Ballerina delivers precisely the right amount of color-coated, hyper-stylized violence. You can largely sense where Stahelski’s material takes over, namely the outrageously violent and innovative second half, which is where Ballerina finds its stride.
Setting aside who the true director behind the picture is, the set pieces are stunning and wholly satisfying. This new film may lack franchise cinematographer Dan Laustsen’s stunning images, but the photography still retains a slick visual style. There’s an exuberant delight to the film’s best set pieces, namely a climactic flamethrower fight between Armas and a Johnny Lee Miller-looking villain in a trenchcoat that is a genuine film highlight. Keanu Reeves’ reprisal as John Wick is merely a cameo, yet the actor instills gravitas in every line-reading and smoldering glance. His sole action sequence is worthy of the explosive carnage of the franchise films and his addition does certainly elevate the overall experience.
Courtesy Lionsgate
Growing up with the Ruska Roma, Eve is trained to “fight like a girl” which means utilizing her smaller size to bait her larger enemies weaknesses. This allows the filmmakers to utilize a vastly different fighting style compared to usual gun-fu seen in the Wick movies. A close quarters combat scene involving Eve tossing numerous grenades is innovative in ways audiences expect from a John Wick film. Eve is forced to adapt in real-time and be scrappy in her fights, making use of whatever makeshift weapons she can find at her disposal. These weapons include — but are not limited to — ice skates, a tv remote, table legs and a large hose to combat a flamethrower. This style of fighting is a large factor in Ballerina’s success. The creativity in the kills and stunt choreography largely distracts from the film’s thin scripting.
Despite an impressively committed physical performance from Ana de Armas, Eve is a fairly blank slate as a character, making the emotional stakes feel non-existent. Armas channels a palpable ferocity as Eve, but the character is saddled with the most straightforward, run-of-the-mill revenge story, it’s hard to muster much emotional attachment.
The John Wick films worked so well because the filmmakers allowed time in that first film to establish pathos and tragedy in Wick’s story, making his quest for vengeance all the more tangible. We’re treated to Eve’s generic backstory in the opening 10 minutes before flashing forward to Armas as an adult, robbing the audience of a strong emotional connection. Eve is also written to be yet another stoic assassin in a universe full of them. Even with welcome additions of Wick supporting players Ian McShane, Angelica Huston and the late, Lance Reddick in his final role, the established world of John Wick isn’t enhanced in any substantial fashion. Backstories and motivations are either muddled or simplistic and newly introduced side characters such as Norman Reedus’ Daniel Pine and Gabriel Byrne’s The Chancellor are merely forgettable inclusions.
Courtesy Lionsgate
Ballerina is precisely the kind of brutal, slickly-photographed summer actioner that it needs to be. While it lacks the heart and audacity of the 4 John Wick films, this is still a bloody good time spent in a fun world, even if it doesn’t take said world in any meaningful new direction.
Ballerina is now playing in theaters.
Another franchise they’re just insistent on running off the cliff.
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