Ballerina movie review: Ana de Armas is a worthy successor to Keanu Reeves' John Wick in spendid, jaw-dropping actioner

Hindustan Times

12-06-2025

There is a moment in Len Wiseman's Ballerina, where the protagonist Eve Macarro (Ana de Armas) is rebuked by her mentor, the Director (Anjelica Huston), for using brute strength in a fight against a man. "Fight like a girl," she tells her. The moment marks a shift in the tone of this John Wick spinoff, because thereon, Ana and the film ensure that they are no longer John Wick clones. Ballerina is a worthy successor to the John Wick series, and in some sequences, it even surpasses the originals. The film starts slow, but soon catches up with relentless action, magnificently choreographed action sequences, beautiful cinematography, and a sublime Ana de Armas.
Ballerina is set before the events of John Wick Chapter 4, and includes the origins of the character we were introduced to in Chapter 3 - Parabellum. Eve Macarro's father was Ruska Roma, just like John Wick. But he was killed by a shady organisation for betraying them. Eve is raised by the Ruska Roma and trained to be an assassin. Years later, she comes across the same tribe that had killed her family. With the help of Winston Scott, the enigmatic owner of the New York Continental Hotel (Ian McShane), she begins her mission of vengeance. The only issue is that time - and John Wick - may not be on her side.
Ballerina brings the world-building from John Wick, including the Continental, the shady world of Ruska Roma, and the lore of the assassins. But it does not depend on just them. That is a lure to bait the audience. Then, it builds the story of Eve, the ballerina who is an assassin. The buildup is slow, and the film tests your patience initially. The first 40 minutes may indicate that the film is just another John Wick story, like the ill-fated Continental series. There are lots of parallels, throwbacks, and it all starts to look a little 'been there, seen that'.
But Ballerina checks itself quickly. Director Len Wiseman knows that the film's USP is its action and wisecracks, not the emotional depth (or the apparent lack of it). So, he quickly changes gears and sets up an hour and a half of nonstop butt-kicking, grenade-exploding, machine gun-firing action, wherein Eve finds newer and more innovative ways to kill, dismember, and mutilate people. All artistically done, of course.
Part of the reason Ballerina does not look like a John Wick clone is how different Eve's fighting style is from John Wick's. She fights like a girl, relying more on swiftness, flexibility, agility, and finesse—all traits of a ballerina. Brute strength also comes into play, but the innovation in the action sequences suits Ana de Armas' frame and makes it all the more believable.
The film's high points, though, are the times when Eve uses her toys. Two brilliant action set pieces highlight this. The first is in Prague, where Eve uses everything from knives to grenades and paints graffiti in blood on the screen. The action is visceral, gory, and yet beautiful. But it's the climactic firefight that takes the cake. Without giving much away, the sight of Eve with a flamethrower was reminiscent of Ripley from Aliens. The beauty of the sequence is how it manages to project the petite Ana de Armas as an unstoppable force.
Ballerina also aces the art of using cameos. It brings back Ian McShane, Anjelica Huston, and Lance Reddick (in his final film appearance), but only as aides to prop up the world of Eve. Never does the film let them overshadow the protagonist. They support the narrative, draw a whistle or two, and then retreat into the background.
Even more impressive is the film's handling of the elephant in the room - Keanu Reeves as John Wick. Having the character in just one throwaway scene with no action would have been too little. But going all out with fan service and making him the saviour would be an injustice to Ana. Writer Shay Hatten and Wiseman manage to find the middle ground and tread that path quite well. John Wick arrives, steals the scene, and then promptly gives the spotlight back to Eve. He is content to loom in the shadows, maintaining a commanding presence throughout, but never making it all about himself. Full marks to Keanu for that as well.
Ballerina is a relentless action thriller that raises the bar after what John Wick has thrown at us. The performances may be nothing to write home about (despite the presence of Gabriel Byrne and Ian McShane), but the action and choreography make up for all that. Ballerina is a worthy successor to John Wick, and Ana de Armas shows that women can lead heavy-duty action franchises, too. Hope there is more from the world of Eve, both for her and the audience.