‘From the World of John Wick: Ballerina’ Review: Ana de Armas Slays in a Hard-Charging Spinoff That Makes for a Mindless Summer Treat

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As a gaming enthusiast, I’ve got to say, playing “Ballerina” is an absolute joy! Anjelica Huston, decked out in heavy power jewelry and makeup that rivals Cher, portrays the menacing Ruska Roma crime queen known as “The Director.” She pushes a young ballet student to her limits, making her dance until her toes bleed through her satin pointe shoes. With a mournful Belarusian accent, she warns, “Tend to your wounds before you develop sepsis and we’ll have to amputate your feet.” If the thrilling climax of expertly coordinated fight sequences is the main draw, it’s those occasional bursts of dry humor that make it a delightful addition to the “John Wick” universe.

In this film, Director Len Wiseman and Screenwriter Shay Hatten opt not to redesign the basic concept, proving beneficial as it maintains continuity with the previous four action-packed installments in the gun fu series, a franchise that has amassed over $1 billion globally.

Or simply:

The new film directed by Len Wiseman and written by Shay Hatten follows the same blueprint as the previous four movies in the high-earning gun fu franchise, making no significant changes but still managing to gross over a billion dollars worldwide.

If you’re concerned about the lack of emotional depth in Keanu Reeves’ portrayal as the silent assassin, don’t be. He makes an appearance briefly to dispose of numerous potential threats and casually uses phrases such as “choice,” “rules,” and “consequences.” Moreover, John demonstrates his preference for stylish black business suits by proving that coats aren’t essential, even in a snowy Alpine village where the wind is biting from the glacial lake.

Stepping capably into Keanu’s John role is another highly skilled assassin named Eve Macarro, portrayed by Ana de Armas. This character was briefly introduced in “John Wick: Chapter 3 – Parabellum.” Outside of demanding ballet classes, Eve is continually engaged by her chief instructor Nogi (Sharon Duncan-Brewster) in shooting practice and martial arts training to the point where she’s able to defeat men larger than herself on the mats.

In the place of Keanu’s character, John, we have another skilled assassin named Eve Macarro (Ana de Armas), introduced in “John Wick: Chapter 3 – Parabellum.” Besides attending rigorous ballet classes, Eve spends her time training in shooting and martial arts under the guidance of her chief instructor Nogi (Sharon Duncan-Brewster). Her training is so effective that she’s able to fight and defeat men larger than herself on the mats.

The similarity in their background with Wick, brought up by the Director as Jardani Jovonovich, and Her is clear through their identical Latin back tattoos. His says “Fortis Fortuna Adiuvat” (“Fortune Favors the Bold”), while hers is “Lux in Tenebris” (“Light in Darkness”). Additionally, she too acquires a nickname from Slavic folklore, with him being referred to as “Baba Yaga,” and herself as “Kikimora.” (I couldn’t help but ponder who would be next: “Tinky Winky,” or “Chimichanga”?)

It’s understandable if one might perceive this as following a pattern reminiscent of the John Wick films. However, what you seem to desire is a fresh, revolutionary take on a franchise that has consistently excelled in its genre and never claimed to be anything other than it is?

Ever since her brief yet intriguing portrayal as Cuban CIA agent Paloma in No Time to Die, I, along with many others, have been eagerly anticipating Margot de Armas’ chance to showcase her action prowess. In this film, she seizes the opportunity, embodying a tough yet vulnerable character who holds her own in intense hand-to-hand combat as effectively as she does wielding a gun – not to mention an assortment of makeshift weapons such as an ice pick, grenade belt, katana sword, mallet, TV remote, firehose, ice skates, and even a flamethrower. Margot de Armas mirrored Keanu Reeves’ dedication by immersing herself in fight training and performing as many stunts as she could, contributing to the exhilarating pace that has been synonymous with this franchise.

In his narrative approach, Hatten strips down the plot to essentials, reminiscent of the life-or-death fundamentals that gave the initial film, 2014’s “John Wick”, its strong foundation. Unlike John, who embarks on a quest for revenge after thugs take the dog given by his deceased wife as a final gift, Eve seeks justice for her father Javier’s (David Castañeda) death, an event that occurred when she was still a child.

In this story, Charon (played by Lance Reddick in his final screen role) and Winston (Ian McShane), who are the concierge and owner of the New York Continental Hotel that caters to contract killers, return. Thankfully, there’s less focus on the complicated High Table rules and Blood Oath symbols. However, the switchboard operators with tattoos from headquarters do make a brief appearance now and then, updating the bounty board.

In an exhilarating opening scene, Eve’s harrowing childhood incident is portrayed as a group of divers armed with crossbows rise from the sea, swiftly eliminating guards at a luxurious coastal mansion. Javier, hiding Eve (played by Victoria Comte), guides her to safety while taking out most of the assassins using his expert skills in combat and explosives. He nearly meets his end when he’s subdued and faced with a difficult decision by a mysterious character called the Chancellor (Gabriel Byrne). However, Javier manages to turn the tide and escapes with Eve, albeit at the cost of a mortal wound.

In this story, Winston puts Eve under the supervision of the Director, who identifies her growing tendency for violence born from suffering and rage as she grows older. Her initial task involves preventing a kidnapping. She excels in this mission, typical of the series style, by eliminating numerous Asian gangsters, employing various martial arts styles such as Muay Thai, Wushu, Ninjutsu, Silat, and so forth. The creators of the series, Derek Kolstad and Chad Stahelski, have always acknowledged their inspiration from the hand-to-hand combat chaos found in “The Raid” movies.

Without much surprise, the scene unfolds at a neon-lit dance club, where intense techno beats echo and seamlessly blend with Tyler Bates and Joel J. Richard’s heart-racing synth soundtrack (occasionally softened by hints of Tchaikovsky’s Swan Lake). However, the gloomy cityscapes filled with intense primary hues that have dominated the series change as we transition from the Continental in New York and then Prague to the beautiful Austrian village of Hallstatt. Interestingly, this quaint village is revealed to be a sanctuary for assassins, governed by the Chancellor.

When a brand on an apprehended assassin’s wrist, which reminded Eve of her father’s demise, resurfaced, she sought additional information from the Director. This revelation unveiled that this mark signified members belonging to a cult who engage in killings, both for financial gain and recreation. Remarkably, they had been maintaining a peace treaty with the Ruska Roma for centuries. However, Eve remained resolute, disregarding both the Director’s instructions and Winston’s counsel.

Instead of the usual, it’s refreshing to observe a female character causing widespread chaos and devastation – Eve barely manages to enter an establishment without leaving behind a trail of destruction and piles of casualties. This is particularly evident in her interactions with high-end arms dealer Frank (played humorously by Abraham Popoola), and even more so in a quaint Hallstatt restaurant, where Eve discovers the hard way that you can’t always trust a serving maid. De Armas avoids appearing too calm or making her intense fight scenes appear easy. Instead, she perspires, groans, and winces in discomfort, yet it’s incredible to see how many brutal physical encounters she can endure without snapping her spine.

Hatten’s storyline presents Eve with family turmoil, as mysterious connections arise from nowhere, and she finds herself bonding with Daniel Pine (Norman Reedus), an escapee from the X cult he married into. Like Eve’s father, Daniel desires to provide his preteen daughter Ella (Ava McCarthy) with a typical upbringing. However, the Chancellor reacts harshly to those who leave his ranks, particularly when it comes to children, whom he views as his personal sculptures. Not only does he set loose an entire army of assassins against Eve, but she must also face a dangerous emissary from an enraged Director.

The primary contrast between the “John Wick” series and “Ballerina” lies in their protagonists’ approaches to their past lives. John, having gained his freedom, spends four films struggling to leave behind his troubled history, while Eve, on the other hand, accepts her destiny as an assassin, with no indication of retiring from this line of work in the climactic scene, hinting at potential sequels.

In this rephrased version:
Eve, our leading character, lacks the dull Zen ambiance associated with Reeves’ John, instead expressing her anger through intense glares, and discards the tutu swiftly, which might make the title seem somewhat misleading. However, de Armas exudes a captivating charm and performs flawlessly, while Wiseman’s powerful direction, coupled with Romain Lacourbas’ visually stunning cinematography and an unyielding pace that seldom pauses in the action, create a stylish summer action flick filled with mindless entertainment.

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2025-06-05 01:25