WICK’S WORLD, HER WAR

In 2023, the legendary Baba Yaga returned to the cinematic battlefield with the release of John Wick: Chapter 4. Directed by Chad Stahelski, the film starred Keanu Reeves, Donnie Yen, Bill Skarsgård, Laurence Fishburne, Clancy Brown, and Ian McShane, following John Wick as he sought revenge against the High Table and those who left him for dead. Originally slated for a 2021 debut, the movie was delayed due to the COVID-19 pandemic and ultimately premiered on March 24, 2023. It went on to become the highest-grossing installment in the franchise, earning $447.3 million worldwide against a $100 million production budget. The film also received widespread acclaim for its breathtaking action, stylish cinematography, Stahelski’s direction, and strong performances. Now, two years later, Lionsgate and director Len Wiseman expand the John Wick universe with the film Ballerina (also known as From the World of John Wick: Ballerina), the franchise’s first official spin-off. But does this new chapter capture the spirit and high-octane thrills of the mainline series, or is it simply a shallow imitation dressed in familiar choreography?

THE STORY

At a young age, Eve (Ana de Armas) is orphaned after her father is murdered by a mysterious cult led by the shadowy figure known only as the Chancellor (Gabriel Byrne). With no remaining family, Eve is taken in by Winston (Ian McShane), who places her under the care of the Director (Anjelica Huston). Raised within the strict and brutal Ruska Roma order, Eve is trained to become a lethal assassin. Her fearless ferocity quickly sets her apart, earning the Director’s favor as she is molded into a weapon of unwavering obedience. But when whispers of the cult’s lingering influence reach her ears, Eve chooses to break free from the Ruska Roma’s grip. Her mission shifts from servitude to vengeance. That resolve is deepened by her bond with young Ella (Ava McCarthy), the daughter of Daniel Pine (Norman Reedus), a former enforcer who turned cult defector. With renewed purpose, Eve enters the proverbial belly of the beast, determined to take down the Chancellor and his zealous followers. Her war not only threatens to destroy the cult, it risks unraveling the fragile truce between the Ruska Roma and their age-old enemies.

THE GOOD / THE BAD

Normally, this part of my review would be a reflection on a previously covered installment, typically connecting back to what I discussed in the opening. In this case, it would’ve been John Wick: Chapter 4. Unfortunately, due to a busy work schedule, my review for that particular film fell through the cracks, and I never had a chance to publish one. I’ll probably revisit it at some point, but for now, I’ll use this section of my Ballerina review to briefly share my thoughts on it.

Personally, I really enjoyed Chapter 4. It stayed true to the franchise’s core identity and delivered exactly what fans have come to expect: stylish visuals, inventive action, and a high body count led by Keanu Reeves’s ever-determined Baba Yaga. The film picked up where Parabellum left off and injected a relentless energy into its narrative, culminating in a satisfying and cinematic final confrontation.

That said, I do think the runtime was excessive. At 169 minutes (two hours and forty-nine minutes), the film often felt overextended, with certain fight sequences dragging on for too long. While each set piece was expertly choreographed, the repetition dulled some of the impact and padded out the story more than necessary. Honestly, trimming 30 minutes would’ve helped tighten the pace without sacrificing the film’s core thrills. Still, John Wick: Chapter 4 delivered on fan expectations, and then some, with jaw-dropping stunts, creative kills, and a gripping finale that felt like the definitive close to John Wick’s saga.

Naturally, this brings me back around to Ballerina (or From the World of John Wick: Ballerina), the first spin-off feature set within the John Wick universe. As mentioned above, Chapter 4 gave the franchise a real sense of closure, so I was surprised when this new project was announced. Even more surprising was the casting: Ana de Armas would take on the lead role, with Keanu Reeves returning as John Wick in a supporting capacity.

Initially slated for release on June 7, 2024, Ballerina experienced several delays due to reshoots, rewrites, and other production hurdles. Eventually, the film was rescheduled for a June 6, 2025 release. With the date locked in, the marketing campaign ramped up, with trailers teasing the same slick style and intense action that fans associate with the franchise. From the previews alone, the film looked promising, and as a longtime fan of the series, I was eager to check it out.

I finally saw the film during its opening weekend, though it took me a week or two to get this review written after handling a few other releases first. So, what did I think of Ballerina? Honestly, I liked it. While it follows a fairly predictable narrative and has a few weak spots in its story and characters, Ballerina is still a solid and entertaining spin-off. It benefits from Ana de Armas’s strong lead performance, some creatively choreographed action, and the same cinematic flavor that has defined the John Wick films. It may not hit as hard or feel as impactful as the mainline sequels, but it works as a visually stylish and satisfyingly mindless action piece, one that confidently carries the spirit of the original series.

Side note: I understand why the studio wanted to include the John Wick name in the title for brand recognition, but From the World of John Wick: Ballerina is quite a mouthful. So, for the sake of brevity and clarity, I’ll be referring to the film as simply Ballerina throughout the rest of this review.

Ballerina is directed by Len Wiseman, whose previous directorial efforts include Underworld, Live Free or Die Hard, and Total Recall. Given his history with action-driven films that blend thrills and stylish visuals, Wiseman seems like a fitting choice to helm a project set within the John Wick universe. For his part, Wiseman does a solid job delivering a fresh story in this already well-established world of shadowy assassins and clandestine organizations. He approaches Ballerina with the same high-octane energy and sleek cinematography as the mainline installments, something I was initially a bit wary of. Spin-off films can be a mixed bag: some find a harmonious rhythm within the existing world, while others feel like awkward outliers, disconnected from the source material. Thankfully, Ballerina aligns well with the John Wick films. Wiseman gives the movie its own identity while still weaving it neatly into the overarching mythos of the franchise.

Like the sequels before it, Ballerina successfully expands the universe, diving deeper into its lore and hidden corners. The script, penned by Shay Hatten, who also co-wrote Chapter 3 – Parabellum and Chapter 4, further fleshes out the world by detailing Eve’s upbringing within the Ruska Roma, the cult’s widespread influence, and John Wick’s limited but meaningful role in the story. These elements help build upon the existing narrative while adding new layers of intrigue and world-building.

To be fair, Ballerina’s story borrows more than a few beats from earlier John Wick entries, likely by design. Still, there’s enough fresh flavor here to allow the film to stand on its own. Yes, the familiarity breeds a level of predictability (more on that below), but most people, including myself, don’t go into an action thriller expecting groundbreaking originality. What we do look for are the action sequences, and on that front, Ballerina delivers. The script also allows for a more character-driven story than what we typically see with Wick himself. Where John’s past is often alluded to in fragments, Eve’s journey is laid bare, giving us a more personal lens into her transformation. It adds emotional depth and gives audiences something more to latch onto than the standard “one-man army” blueprint. While not flawless, the script serves its purpose and provides a strong foundation.

And that brings us to the action, arguably the most important component of any John Wick film or spin-off. Thankfully, Ballerina doesn’t disappoint. While the action style differs slightly from the main entries, it still feels very much in tune with the franchise’s DNA. Let me explain. Eve’s combat approach contrasts with John’s; whereas Wick often charges into a room with relentless gunplay, Eve, being smaller, faster, and facing greater physical disadvantages, adapts with more tactical precision and agility. The film’s choreography reflects this, and Wiseman does a commendable job in crafting action scenes that complement her unique skill set.

There are still plenty of guns, hand-to-hand brawls, and madcap chaos, but the execution is more calculated. Eve’s confrontations are methodical yet intense, and the way she dismantles her enemies showcases both creativity and strategy. That said, the action remains kinetic and stylish from beginning to end, capturing the same pulse-pounding spirit that defines the franchise. The set pieces are well-staged, tightly edited, and visually exciting, delivering on the series’ signature blend of grace and brutality. In short, Ballerina lives up to the hype in its action, offering plenty of thrills for longtime fans and newcomers alike.

Overall, I felt that Wiseman does a pretty good job of introducing a new narrative to the John Wick series. Ballerina adds another solid and enjoyable entry to the franchise, delivering the kind of assassin-driven revenge story and stylish action that fans have come to expect, while still managing to feel like its own distinct chapter within the larger universe.

In terms of presentation, Ballerina absolutely looks and feels like a John Wick movie. It captures the franchise’s signature blend of cinematic flair and gritty realism, while projecting just the right amount of visual world-building to make the environment feel both immersive and authentic. Much like its predecessors, the film is rich with striking set pieces, each visually distinct, ranging from neon-lit cyberpunk backdrops and sleek modern architecture to quiet, atmospheric European village settings. It’s all crafted with purpose and character, forming a dynamic visual playground for Eve and the rest of the cast to inhabit. Credit for this goes to the talented “behind-the-scenes” team. Phillip Ivey’s production design, along with set decorators Sofie Othmanova and Letizia Santucci, and costume designer Tina Kalivas, all help bring this world to life with detail and cohesion. The art direction and hair/makeup departments further complement the film’s aesthetic, ensuring it feels stylistically in line with the rest of the John Wick universe.

Supporting all this is the cinematography by Romain Lacourbas, which aligns beautifully with the series’ established look. Lacourbas infuses the film with sleek, stylized visuals, balancing tight, intimate moments with wide, dramatic angles and dynamic movement that enhances the action. The sound design is another standout, with every gunshot, explosion, and bone-crunching brawl delivered with clarity and impact, heightening the film’s visceral tone.

Lastly, the musical score, composed by returning John Wick veterans Tyler Bates and Joel J. Richard—adds another layer of energy and mood. While familiar motifs from the franchise appear throughout, the duo adds a slightly more cyberpunk-infused edge to Ballerina, giving it a distinct musical identity that flows in and out of scenes with fluid precision. The result is a soundtrack that complements the film’s tone while helping it stand apart as its own experience within the franchise.

Unfortunately, Ballerina isn’t without its flaws. While these issues don’t completely detract from the film’s entertainment value, they do leave certain elements feeling clunky or rough around the edges in terms of execution and narrative cohesion.

So, what didn’t quite work? First, the story begins to lose steam in its second half. As I mentioned earlier, the first act does a commendable job laying the groundwork, exploring Eve’s upbringing, training, and motivations. However, once the film passes the midway point, the plot starts to drift into more conventional territory. It leans heavily on formulaic tropes and predictable story beats, especially common in both the John Wick franchise and the broader “one-person army” subgenre. While the personal stakes remain intact and continue to give the narrative weight, there’s a noticeable drop in narrative tension and originality. The writing becomes stiffer, and the story begins to feel a little too familiar.

Additionally, I felt that the dialogue lacked some of the sharpness seen in previous entries. Certain lines felt awkward, either in how they were written or how they were delivered. It’s not a dealbreaker, and I’m sure most fans won’t be overly bothered, but the script could’ve benefitted from a more refined approach in fleshing out both its emotional and thematic points.

There were also moments where the pacing and editing felt slightly disjointed—likely a result of the film’s turbulent production history. As many know, Ballerina experienced several delays, reshoots, and rewrites before reaching its final cut. At one point, even Chad Stahelski, director of the main John Wick films, was brought in to assist with some of these reshoots. Because of this, it’s clear that the finished product isn’t quite the original vision. Whether certain creative decisions came from Wiseman or Stahelski is hard to say, but the end result feels somewhat pieced together at times. The movie is certainly cohesive and easy to follow, but some of the transitions between story beats feel jostled or misaligned, like parts of two different visions were merged without perfect unity.

As a minor complaint, I also found some of the film’s continuity choices a bit confusing. Ballerina is positioned between the events of John Wick: Chapter 3 – Parabellum and Chapter 4, and while a few nods to the main series are well-placed, others are more puzzling. For example, there are inconsistencies regarding characters who should be injured, missing, or otherwise accounted for based on the timeline. One third-act inclusion, in particular, raises eyebrows when considering their prior fate. And if the High Table is as all-powerful and omnipresent as portrayed across the franchise, why do they allow the Chancellor’s cult to operate so freely in Hallstatt? The film doesn’t provide clear answers, leaving some continuity gaps and lore-based questions unresolved. Is it a retcon? An oversight? It’s hard to say, but it may leave dedicated franchise followers scratching their heads.

The cast of Ballerina is pretty solid overall, with many of the actors clearly enjoying themselves in their respective roles. While some characters could’ve been better developed, largely due to the way the story is structured and written, the performances themselves are strong, with several cast members bringing noticeable presence and energy to the screen.

Leading the charge is Ana de Armas as Eve Macarro, the film’s central protagonist—a young woman trained in the deadly arts of assassination and driven by a personal quest for revenge. Known for her roles in Knives Out, War Dogs, and Blade Runner 2049, Armas has steadily built an impressive résumé over the past several years, proving herself to be a versatile and capable actress. Her brief yet memorable role in No Time to Die, the 25th James Bond film, made it abundantly clear that she could handle high-octane action with finesse. (Side note: she was fantastic in that film, and if she had ever been cast as a Bond girl in a larger capacity, I think she would’ve been perfect.)

In Ballerina, Armas brings that same skill set to the forefront. She balances vulnerability and strength well, embodying the role of a fierce, determined femme fatale with believable nuance. She’s confident and commanding, more than capable of carrying a scene and driving the narrative forward. Her physicality in the action sequences is convincing, and her emotional beats hit the right marks, helping viewers invest in Eve as more than just a one-dimensional revenge-seeker.

What also makes Eve’s character engaging is that her story, at least in the first ac, is arguably more fleshed out than John Wick’s. While the original Wick films slowly drip-fed details about John’s mysterious past, Ballerina takes a more direct approach, offering insight into Eve’s childhood, training, and motivations right up front. While the pacing does speed through some of that backstory to get viewers up to speed, it still gives Eve a bit more emotional context early on.

That said, there are definitely moments—especially in the third act—where Eve’s arc feels somewhat derivative of John Wick’s own journey. A few narrative beats feel “copied and pasted” from the mainline entries. Still, the formula works, and Ballerina applies it effectively enough to give Eve her own identity. In the end, I thought Armas did a fantastic job in the role. She fills the shoes of a John Wick-esque character with skill, presence, and charisma, while also offering something distinct through her own style and approach to combat and performance.

As for the villain of Ballerina, that role belongs to the Chancellor, the mysterious leader of a dangerous cult of assassins based in Hallstatt, played by Gabriel Byrne (The Man in the Iron Mask and Hereditary). While the character himself is somewhat generic and doesn’t break much new ground as an antagonist, Byrne’s commanding screen presence and performance help elevate the role. The Chancellor lacks the unique personality or menace of previous John Wick villains like Santino D’Antonio, the Adjudicator, or the Marquis Vincent Bisset de Gramont. Still, Byrne brings enough gravitas to make him an engaging threat and an effective, if formulaic, villain.

As a side note, Catalina Sandino Moreno (Maria Full of Grace and A Most Violent Year) gives a solid performance as Lena, an assassin in service to the Chancellor. While her character starts off as a standard henchwoman, she becomes more compelling as the story unfolds, especially through her interactions with Eve. Moreno handles these more emotional moments well and adds a subtle layer of depth to the role.

One of the more disappointing casting outcomes, however, comes from Norman Reedus (The Boondock Saints and The Walking Dead), who plays Daniel Pine, an assassin with ties to the cult and a person of interest in the overarching conflict. Despite being set up as a potentially important figure, Reedus is surprisingly underused. His scenes are few and feel somewhat incomplete, as if his character was meant to play a larger role in an earlier draft of the script. Reedus delivers a good performance with the limited material he’s given, but ultimately, his character feels undercooked. On a related note, young actress Ava Joyce McCarthy (Andor and The Primrose Railway Children) plays Pine’s daughter, Ella. She’s serviceable in the role, never pushing beyond the typical “innocent child in peril” trope, but she fulfills the part as the story demands.

Now, of course, the “big elephant in the room” is the appearance of John Wick himself, the legendary Baba Yaga, once again played by Keanu Reeves (The Matrix and  Point Break). Let’s be clear: Reeves is not the star of this film, and his role does not overshadow Ana de Armas’s lead performance. That said, his inclusion is a welcome one. Wick appears in a few key scenes, including some brief but exciting action moments that will surely please longtime fans. The script’s justification for his involvement in Eve’s conflict with the cult is a bit clunky and not entirely convincing, but his presence does help energize the film’s third act. Was he necessary to the story? Not really, the film could’ve functioned just fine without him, but his return still adds a satisfying dose of continuity and fan service.

Equally enjoyable are the returning supporting players from the mainline John Wick series. Ian McShane (Deadwood and Kung Fu Panda) once again reprises his role as Winston, the ever-composed manager of the New York Continental. As always, McShane delivers his lines with impeccable timing and charm, making any scene he’s in more engaging. Alongside him is the late Lance Reddick (The Wire and Bosch) in his final performance as Charon, the Continental’s loyal concierge. Reddick filmed his scenes before his passing, and his portrayal carries the same grace, poise, and quiet authority that fans have come to love. His presence is a heartfelt and respectful tribute to the actor’s legacy. Lastly, it’s a pleasure to see Anjelica Huston (The Addams Family and Ever After) return as the Director, the steely matriarch of the Ruska Roma. Just like in John Wick: Chapter 3 – Parabellum, Huston brings a commanding presence to the screen, embodying her character with cold authority and gravitas. Her scenes are limited but impactful, and she continues to be a fascinating part of this universe.

The rest of the cast, including actress Sharon Duncan-Brewster (Dune and Enola Holmes 2) as Eve’s mentor Nogi, actor Robert Masser (The Machine and Where’s Wanda?) as the Chancellor’s right-hand man Dex, actor Waris Ahluwalia (Inside Man and The Darjeeling Limited) as the cultist overseeing the town of Hallstatt known as The Eye, actor David Castaneda (The Umbrella Academy and Sicario: Day of the Soldado) as Eve’s father Javier Macarro, actor Abraham Popoola (Cruella and The Curse) as high-end arms dealer and seller in Prague named Frank, actress Choi Soo-young (My Spring Days and Fanletter Please) as Eve’s first field mission objective Katla Park, actor / stuntman Jung Doo-hong (Fighter in the Wind and The Berlin File) as Katla’s captor Seong II, and actress Juliet Doherty (Strange Girl in and Strange Land and High Strung Free Dance) as Tatiana, a talented ballerina who befriends Eve during their training at the Ruska Roma, is delegated in minor supporting characters in the film. While there roles are limited by design, I did feel each one did bring some type of character nuances and presence within their respective roles, which, in my book, is a good thing.

FINAL THOUGHTS

Seeking revenge against those responsible for her father’s murder, Eve Macarro puts her deadly skill set to use as she unravels the dark web surrounding a mysterious cult in Ballerina, or, as it’s officially titled, From the World of John Wick: Ballerina. Director Len Wiseman’s latest project takes what fans love about the John Wick franchise and offers a new perspective within that same universe, delivering a tale that feels both familiar and fresh. It succeeds thanks to the way everything is interwoven, and while it occasionally leans on familiar tropes and genre clichés, Wiseman makes it all work. His direction, the intense action sequences, the expertly choreographed stunts, the sleek visuals, striking cinematography, and a capable cast all come together to create something engaging and worthwhile. Personally, I liked this movie. While it doesn’t quite reach the same heights as the main John Wick entries, largely because of how stylistically and narratively tight those films are, Ballerina still stands as a far better spin-off than many other franchise side stories. It retains the spirit and style of the main saga, with strong action beats and a visually rich presentation. Ana de Armas, in particular, shines in the lead role, bringing both credibility and emotional weight to Eve’s character and fighting prowess. As such, I would give Ballerina a favorable “recommended”, especially for fans of the John Wick series and action thrillers in general. The film’s ending hints at more to come in Eve Macarro’s journey, and I, for one, would be very interested to see where her story goes next. In the end, Ballerina is a stylish, hard-hitting action-thriller that not only delivers on its premise but also adds a bold new chapter to the John Wick cinematic universe, one drenched in grit, grace, and the promise of vengeance still to come.

4.0 Out of 5 (Recommended)

The Official Website for Ballerina Link: HERE

Released On: June 6th, 2025

Reviewed On: June 23rd, 2025

Ballerina  is 125 minutes long and rated R for strong / bloody violence throughout, and language

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