Lionsgate’s highly anticipated Ballerina—the first spinoff feature from the John Wick franchise—has finally hit theaters after a prolonged and complicated production process. The film centers on Eve (Ana de Armas), a ballerina-turned-assassin, whose story first appeared in John Wick: Chapter 3 — Parabellum (2019). Initially shot nearly three years ago, Ballerina underwent extensive reshoots and post-production delays, with longtime John Wick director Chad Stahelski reportedly stepping in to refine some of the action sequences originally helmed by Len Wiseman.
The movie’s release comes after John Wick: Chapter 4 debuted earlier this year, with Ballerina delayed well beyond its initial timeline, and notably posthumous to the passing of co-star Lance Reddick. This backstory has fueled much speculation online about how much of the final film includes reshot material and who exactly guided those efforts, adding to the mystique surrounding the project.
At its core, Ballerina explores Eve’s quest for revenge against a shadowy organization led by the ominous “Chancellor” (Gabriel Byrne). The film weaves flashbacks of Eve’s tragic past with a gritty journey through various European locations, blending ballet’s elegance with relentless violence. Keanu Reeves reprises his role as John Wick in a small but pivotal cameo, bridging this spinoff to the beloved film series.
However, the movie’s pacing and tone divide sharply. The first half feels like a dreary echo of John Wick, mimicking its style but lacking the signature energy and inventive choreography that made the original franchise a benchmark in the action movie genre. Scenes here can feel disjointed, with lengthy monologues pondering fate and morality, which contrast oddly against the relentless gunfire and knife fights that follow.
Then, in a dramatic shift around the midpoint, Ballerina transforms into a kinetic, thrilling spectacle. The narrative sheds its philosophical musings for a succession of inventive and darkly humorous fight sequences. These moments elevate the film from a routine thriller to an exhilarating tour de force of stunt work and choreography that echoes the best elements of the John Wick films, reminding viewers why the franchise remains a touchstone in the film industry.
Ana de Armas delivers a strong performance, holding her own in intense action scenes that include gunplay, hand-to-hand combat, and even flamethrower duels — a highlight that blends brutality with a playful wit. While she may lack some of the stoic gravitas Keanu Reeves brings to Wick, her portrayal of Eve injects fresh energy into the evolving mythos.
Yet, Ballerina falls short in fully exploring its intriguing premise. Despite the striking image of ballet dancers turned assassins, the film barely integrates ballet beyond surface level, missing opportunities to merge dance and combat innovatively. The elaborate world-building that enriches the John Wick universe—such as the Continental hotels and their golden coin economy—is also underdeveloped here.
Set against a backdrop of remote Alpine locales reminiscent of cult classic action films, the movie culminates in a visually poetic climax filled with jaw-dropping stunts. It’s a welcome reminder of the artistry possible in action cinema and a testament to the talented stunt teams whose work might soon receive the recognition it deserves.
In sum, Ballerina may not reach the haunting emotional depths of the mainline John Wick films, but its eventual release and high-octane second half make it a commendable addition to the franchise’s expanding universe. For those invested in the John Wick saga or fans of inventive action movie characters, Ballerina offers a thrilling, if uneven, cinematic ride.
