Dumb Things We Can’t Ignore In The John Wick Spin-Off Ballerina

Contains spoilers for “Ballerina”

The “John Wick” franchise not only spawned a TV series, “The Continental,” but also ventures into big-screen spin-offs like “From the World of John Wick: Ballerina.” Penned by regular “John Wick” scribe Shay Hatten and helmed by Len Wiseman, this film focuses on Eve Macarro (played by Ana de Armas), who is mentored by New York’s The Director (Anjelica Huston) in the art of assassination. Unlike typical trainees, however, Macarro seeks to avenge her father’s death at the hands of the enigmatic Chancellor (Gabriel Byrne). This quest for vengeance unfolds in a classic “John Wick” fashion, complete with thrilling and imaginative action sequences. The film’s central narrative revolving around Ana de Armas adds an extra layer of weight to the storyline.

In simpler terms, the film “Ballerina” is disappointing because its story becomes overly complex, taking attention away from exciting fight scenes. Instead of offering a streamlined, impactful sequence of fights, “Ballerina” focuses too much on a confusing narrative filled with unnecessary elements that confuse rather than entertain viewers. From references to the mythology of “John Wick” to unresolved plot points and underdeveloped characters, the script of “Ballerina” is overloaded. So, get ready to delve into the many ways this film misses its mark as an action movie.

John Wick’s cameo makes no sense with the franchises timeline

In the movie “Ballerina,” Eva Macarro and John Wick initially encounter each other during a conversation between Wick and The Director, which is borrowed from “John Wick: Chapter 3 – Parabellum.” After this brief interaction, Wick continues with his storyline in “Parabellum.” It’s clear how “Ballerina” can run concurrently with “Parabellum.” However, it’s important to note that the entire “John Wick” trilogy, including the worldwide adventure of “Parabellum,” unfolds over a span of nearly two weeks. This timeline encompasses the ending of “Parabellum,” where Wick stages his death after falling from The Continental’s roof and is later rescued by The Bowery King, who asks if Wick desires revenge. This sets the stage for the vengeful rampage depicted in “Chapter 4” against The High Table. However, given that the ending of “Parabellum” concludes with Wick’s death and subsequent recovery, his longer appearance in “Ballerina” seems inconsistent with the established timeline.

In the “John Wick” series, the reunion between the characters John Wick and Ballerina takes place after the film “Parabellum”. Following “Parabellum”, John should have been in hiding to recover and set traps for his enemies. However, it seems strange that he would be accepting assignments from The Director (with whom he had no outstanding debts post-“Parabellum”) and traveling by train as if nothing happened. Although Ballerina’s appearance adds an exciting touch to the movie, it doesn’t fit well within the “John Wick” storyline’s timeline.

The big secret sister twist

As a fan, I must admit that at first glance, Lena (Catalina Sandino Moreno) seemed like an intriguing secondary villain, much like Jaws or Tee Hee from 007 films. However, it wasn’t until later in the movie that her true significance was revealed – she is none other than Macarro’s older sister! This unexpected family tie adds a layer of depth to the narrative, creating an unanticipated bond between the film’s protagonist and antagonist.

Unfortunately, this revelation felt somewhat forced. Lena had minimal screen time prior to this point, so the sudden emphasis on her familial relation with Macarro felt abrupt rather than organic. After this, Lena engages in a high-stakes chase and fight with Macarro within a cabin, followed by a brief exchange where she expresses her feelings of abandonment. This moment of connection between them is fleeting, as the Chancellor orders the cabin to be attacked, leading to Lena’s tragic demise.

Despite this clunky execution, I found myself moved by Lena’s character and the complex dynamics she brought to the story. Her death serves as a poignant reminder of the consequences of sibling rivalry and the importance of family bonds, even in the most unexpected contexts.

In the brief time span from when Lena’s identity as her sibling was unveiled to her unfortunate demise at the hands of her superior, there is simply too much happening for the audience to fully connect with her storyline. This is because Lena lacked both the emotional intensity and thrilling action sequences needed to leave a lasting impression. Consequently, her character feels unnecessary in the grand scheme of “Ballerina”. The sudden twist about Lena being her sister seems confusing and uneventful within the broader narrative of the movie.

The lack of urgency over a kidnapped child

In the movie “Ballerina,” Eva’s vengeful journey becomes tangled when she discovers that Daniel Pine (Norman Reedus) isn’t just her target for interrogation, but also a father figure to Ella Pine (Ava McCarthy). Similar to Michael Shannon’s character in “Midnight Special,” Daniel is fiercely protective of his child from the clutches of a dangerous cult. However, Ella becomes less central to the storyline as Eva and the rest of the movie focus on other matters for extended periods. The only significant time Ella appears is during one scene where she has a brief conversation with the Chancellor, and even then, her presence feels forced. By the end of the film, Ella’s role seems more like an afterthought, adding tension but not fully integrated into the main plot.

The brief appearance of “Ballerina” in the movie is perplexing not only due to its transitory quality, but also because it’s given so much weight in the plot and then seemingly ignored. For instance, immediately following Ella’s abduction, Eva embarks on a quest for information about the Chancellor’s cult without ever acknowledging the pressing issue of rescuing a child during her crusade for revenge. This casual attitude towards child endangerment feels strange, particularly since “Ballerina” continually introduces fresh, unrelated conflicts as if they matter more. It’s another example of a problematic element in “Ballerina”, exacerbated by the fact that this screenplay is overly complex and could have benefited from a more focused narrative. In such a case, Ella’s predicament might have carried genuine urgency.

The darker implications of The Director’s mission go unresolved

In one of Eve Macarro’s pivotal scenes before the film “Ballerina” launches her into the world as an assassin, a budding killer is placed in an interrogation room with minimal furnishings – just a table and pieces of a disassembled gun. Another woman, visibly bruised and annoyed at being used as a training tool, is also present, armed with her own gun to assemble. When Macarro queries about the woman’s identity, she replies cryptically that she’s Macarro “decade from now.” Her subsequent remarks hint that The Director’s operation will ultimately consume and discard Macarro. What follows is a competition between the two women to reassemble their weapons and take down their adversary; Macarro emerges victorious in this confrontation. This sequence implies that, similar to the John Wick series where the main character becomes disenchanted with The High Table, Macarro too may come to understand the corruption of her superiors.

In this rephrased version, I’ve aimed to preserve the original meaning while making the language more accessible: Macarro deviates from The Director’s orders to seek revenge, but this isn’t due to a general disdain for the world she comes from; instead, it’s because The Director tells her not to jeopardize old agreements. This particular aspect of the “Ballerina” storyline remains ambiguous as director Len Wiseman focuses on developing new narrative elements. The bleak prospect of Macarro serving an institution that may eventually betray her was too somber for a film eagerly moving towards explosive action sequences involving grenades and flamethrowers.

Gabriel Byrne’s Chancellor’s erratic obsession with fate

In the initial scenes of “Ballerina”, audiences are introduced to the antagonist, Chancellor, through a flashback showing Eve Macarro’s father being killed by the cult leader and his followers. During this scene, the Chancellor speaks eloquently about the concept of fate, implying that everything, including Macarro’s father’s death and the Chancellor’s victory, were predestined. However, it becomes clear throughout the story that Chancellor is more defined by his possessiveness than by destiny or predetermined paths. His ideology as a villain is not heavily tied to fate until his final confrontation with Macarro, where he experiences a significant shift in beliefs when Macarro unexpectedly shoots him.

In “Ballerina,” the Chancellor, who is characterized by his belief in predetermination early on, has very few scenes with significant dialogue throughout most of the movie due to his separation from Macarro. This makes it puzzling that this defining trait of his is largely absent after the prologue. The inconsistency between this characteristic and his somewhat sinister presence results in a character that feels ambiguously defined and underdeveloped. Furthermore, this inconsistency highlights how disconnected the opening scene is from the rest of the movie. Gabriel Byrne, who played the leading role in “Miller’s Crossing,” could have benefited from a more consistently developed character.

The terrible de-aging in the prologue

In “Ballerina,” we’re taken back 12 years to when a young Eve Macarro experiences her father’s death. Subsequently, Macarro encounters a figure resembling John Wick (Ian McShane’s character), who presents her with the option of living a regular life or becoming an assassin. This encounter with Winston happens a decade before his first appearance in 2014’s “John Wick.” As a result, some noticeable digital de-aging techniques were employed on McShane for this segment, making Winston appear unnaturally plastic and artificial as the story unfolds. This trustworthy figure from previous John Wick movies now seems more like a video game character that accidentally stepped into reality.

In a departure from the gritty realism of previous John Wick films, this installment introduces an element that feels out of place and clashes with the authenticity. The franchise is known for its maximalist style, yet it has always been grounded in practicality, especially when it comes to costumes and sets. However, the use of digital de-aging on Ian McShane seems to contradict this approach, not only failing to blend seamlessly but also making Winston’s lip movements appear unnatural. The intimate dialogue between Winston and Macarro is lost in this prologue due to these visual inconsistencies. This prologue, titled “Ballerina,” falls short on multiple creative fronts, particularly given the noticeable impact of its digital technology on Ian McShane’s appearance.

Hello and goodbye, Nogi

Despite the Director being Macarro’s superior in rank, it is Nogi (Sharon Duncan-Brewster), who appears to form the strongest bond with Macarro. With her intricate necklace and confident demeanor, Nogi serves as a source of inspiration for Macarro, encouraging him in hand-to-hand combat and offering words of encouragement during difficult times. In the initial act of “Ballerina,” Nogi is a persistent presence on screen and serves as Macarro’s most consistent ally within the ballet/assassin training facility. However, when Macarro decides to go against orders, Nogi disappears from the story. Her final appearance in “Ballerina” sees her objecting to The Director issuing a hit on Macarro. Afterward, she is not seen again, even during the film’s closing epilogue when Macarro briefly returns to New York City.

It’s quite disappointing that Nogi, who had such a significant presence in the story, suddenly vanished without a trace. This is especially frustrating because Duncan-Brewster delivers such an impactful performance in the role. The absence of Nogi is particularly noticeable, especially since the epilogue of “Ballerina” ensures that characters like Tatiana (Juliet Doherty) are given closure. It’s even more perplexing when you consider that having Nogi around during the final stages of “Ballerina” would have provided Macarro with a dynamic female character to interact with, which would have greatly enhanced the film as a whole. The way “Ballerina” disregards Nogi after building her up seems like a significant oversight.

Those multiple first act time jumps

In the thrilling world of “John Wick: Chapter 3 – Parabellum,” I found myself sprinting along with John Wick and his loyal canine companion, every second ticking away before midnight when every assassin would be on his tail. Each installment of the “John Wick” series kicks off at a breakneck pace, and this one was no exception. The gripping narrative and exhilarating action sequences are evident from the very beginning and never let up.

On the other hand, the script for “Ballerina” takes a different approach, opting for a more intricate, expansive storytelling style compared to its predecessors. Shay Hatten’s screenplay introduces not one, but two time jumps within the first half hour of the movie. The story initially delves into Macarro’s childhood memories, witnessing her father’s death, which later propels her onto the path of becoming an assassin. This triggers the first time jump, transporting us 12 years ahead to Macarro’s adult training years.

Moving on, I find myself revisiting the tale of the “Ballerina,” two months after Macarro has honed his skills as an assassin and mastered the art of killing. The narrative seems stretched thin in this backward leap through time, making it feel laborious to reach the efficient, ruthless Macarro we know. Delving too deeply into the past, save for adolescent Macarro’s witnessing of his father’s demise, feels unnecessary and slows down the pace. Even without the swift-paced “John Wick” sequels as a benchmark, these frequent time leaps in “Ballerina” would still be an unfortunate choice.

The awkwardness of the John Wick vs. Eve fight

In the third act, the ballet performance comes to a halt to make way for Keanu Reeves’ second appearance as John Wick. The Director summons him to prevent Eve Macarro from continuing her quest for vengeance. They confront each other in a secluded snowy location where Wick attempts to convince Macarro to retreat, but she remains determined to avenge her father. The ensuing fight between the two John Wicks becomes inevitable. Having the first spin-off protagonist face off against the original franchise lead was likely an appealing concept for some Lionsgate executives. Unfortunately, this confrontation seems reminiscent of contractual agreements reportedly held by Dwayne Johnson and Jason Statham, ensuring they never lose in on-screen fights.

In the movie “Ballerina,” Wick and Macarro engage in a shootout, followed by a struggle on the ground. Throughout this, Wick repeatedly tells Macarre to leave. Reeves’ comedic timing adds depth to these brief statements from the weary, older assassin. However, the sequence feels repetitive because neither character is shown as clearly winning or losing. This approach weakens the impact of both characters’ standalone movies. Consequently, this encounter lacks excitement or dramatic tension and primarily serves as a reminder of previous “John Wick” films. Instead of an epic clash between action cinema legends, it comes across as mere fan service.

One gun supplier apparently knows all

Following Ella’s abduction, Eve Macarro goes to meet arms dealer Frank (Abraham Popoola) in Prague. Frank is a modern-day version of “The Sommelier” from “John Wick: Chapter 2,” a well-dressed man with an impressive arsenal of weapons that even Ted Nugent would consider heavenly. Despite being a continuation of a character from the “John Wick” series, the script by Shay Hatten unwise decision leads to too much information being revealed all at once during this visit to Frank’s shop. In one location, Macarro learns a great deal about the Chancellor’s cult, including the enigmatic snowy place they call home. The mystery surrounding these adversaries is significantly reduced in just one scene due to Frank’s seemingly inexplicable vast knowledge.

It’s odd that Frank only appears in this particular scene, as it adds mystery to his significant role in Macarro’s journey. Yet, his aid to Macarro contradicts the previous “John Wick” characters like “The Sommelier” and “Tick Tock Man,” who were verbally distant. Moreover, there are no repercussions for Frank using this information, and the exposition is awkwardly placed between a sudden gun store shootout. Essentially, it seems that “Ballerina” was trying to establish a lot of backstory so Macarro could advance in the plot. However, they chose an unsuccessful detour to the gun shop which doesn’t flow well. In short, the movie feels like it’s cramming a lot of lore into the storyline.

Norman Reedus is not dead, he’s surely alive

The most absurd scene in “Ballerina” might just be its ending, where Ella Pine is seen in a hospital room following Eve Macarro’s rescue. She’s looking after her father, Daniel Pine, who lies in a hospital bed and weakly opens his eyes to find his joyful daughter by his side. A heartwarming reunion between father and daughter unfolds. This moment is likely to leave viewers not applauding, but shaking their heads in disbelief instead. In “Ballerina”, we see Eve Macarro, dazed after the Chancellor’s goon shoots a clearly deceased Daniel Pine multiple times. It seems almost unbelievable that, like a character from “Monty Python and the Holy Grail” who was turned into a newt, Pine miraculously recovered so he could reunite with Ella.

In the story, it seems that Ella’s unexpected revival is a plot device because there were no other viable options for her character. It wouldn’t be plausible for Macarro to look after her when she’s constantly being pursued by assassins. Also, the “Ballerina” series hadn’t previously presented a safe sanctuary where children could reside, like they did with Ella. However, the twist that Daniel Pine, who appeared dead, was actually alive again felt forced and out of place. This development undermines the suspense and importance of this peculiar part of the “John Wick” universe.

2025-06-09 06:01