It takes a good, long while before “Ballerina” realizes it’s part of the “John Wick” franchise.
Yes, the spinoff embraces the saga’s wry details, from those arcane switchboards to hotel lobbies doubling as literal safe spaces. The film lacks that go-for-broke spirit that makes the hyperviolent series such a guilty pleasure.
It’s just another action vehicle … until it isn’t.
The third act could wake the dead. And, yes, there will be fire.
“Ballerina” is an origin story, first and foremost. We meet young Eve Macarro as she watches her father die at the hands of The Chancellor (Gabriel Byrne), the film’s heavy.
She’s an orphan now, and she falls into the hands of a secret society led by the no-nonsense Director (Anjelica Huston, slumming but having fun all the same). Eve grows up, looking an awful lot like former Bond girl Ana de Armas. She’s a quick study in the Ruska Roma tradition of shooting first and not bothering to ask questions later.
Assassination 101 comes naturally to her.
Still, she can’t forget her father’s murder, and when an assignment reveals a thug with the same skin tattoo as her dad’s killer she goes rogue.
She’ll have her vengeance or die trying.
“Ballerina” is an improvement on “John Wick” in one crucial way. John went berserk after someone killed his dog. Eve’s mission is to avenge her saintly Pa.
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The action takes place between the third and fourth “John Wick” installments, for those eager to line up the saga in its proper context. That allows John himself (the ageless Keanu Reeves) to make an appearance in Eve’s evolution.
That matters, and “Ballerina” isn’t shy about the Wick connection. We’ll say no more.
“Ballerina” knows we’re here for the nonstop action, and you don’t have to wait long until the next battle begins.
Still, the film’s emotional beats almost all fall flat, and it’s not for lack of opportunities. Eve’s family tree should supply some human interest between the gun fights, but a key subplot fizzles.
Another possible connection disappoints when Eve meets a young girl in the Chancellor’s crosshairs. Could “Ballerina” provide Eve with a Newt-like figure to tap her maternal side, a la “Aliens?”
Nah.
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The great Norman Reedus shows up mid-film but “Ballerina” isn’t quite sure what to do with him. That holds true on several levels. The spinoff underwent reshoots and took its sweet time reaching theaters.
Occasionally, it shows.
Plus, it’s bittersweet to see Lance Reddick on screen for the last time. The versatile actor died in March of 2023 but remains a welcome part of the “John Wick”-iverse. Or any film, for that matter.
Director Len Wiseman’s choreographs the “Ballerina” fight sequences with aplomb, but they lack the creative handiwork of the best “Wick” moments. That changes after the hour mark passes.
The kills become increasingly gruesome and clever, and the pace picks up considerably. Ah, that’s more like it. That’s why we bought our ticket in the first place.
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That also means the story’s rickety structure begins to collapse. Audiences are advised to follow the simple revenge template and not sweat the details. Any details.
There’s no other way to absorb the manic, go-for-broke third act. Just sit back and let it wash over you, knowing de Armas is a snug fit for action heroics. She’s never less than convincing, no small praise when Reeves is sharing the screen with you.
That makes this de Armas-led spinoff worth it for hardcore Wickians.
HiT or Miss: “Ballerina” is second-tier “John Wick” until its glorious, nonsensical finale.
This is getting quite out of hand with these crazy people
Another girlboss show. Yawn.