From its inception in 2014, the John Wick franchise has cemented itself as one of the crowning achievements in action cinema of the past 11 years. What began as a modest revenge tale about a man seeking revenge for the murder of his pup has evolved into a critically and commercially beloved saga. With four entries under its belt, the series hasn’t just maintained its momentum, it’s improved with each installment. After the shocking conclusion of Chapter 4 in 2023, it seemed the franchise might go quiet. But that assumption was short-lived as spin-offs from a franchise this successful were inevitable.
Enter Ballerina, the fifth installment and the first official spin-off film of the series. Though Chad Stahelski stepped away from the director’s chair, casting Ana de Armas in the lead was a stroke of brilliance. Her brief yet memorable role in No Time To Die had me wishing she’d front her own action film. With Len Wiseman at the helm, the question isn’t whether Ballerina will outdo the mainline entries, it’s whether it can stand tall as a worthy addition to the John Wick universe.
From The World of John Wick: Ballerina is an unrelenting and viciously bloody good time. Ana De Armas was born to be an action star, her physicality, presence, and commitment to the role exceed all expectations. While it may not hit the heights of the mainline entries, Ballerina is a worthy addition to the universe, one that absolutely kills.
Set between John Wick: Chapter Three and Four, Ballerina follows Eva Maccaro, a young woman determined to avenge her father’s death by immersing herself in the brutal traditions of the Ruska Roma. As she descends into the criminal underworld John Wick once navigated, Eva must confront ruthless enemies and grapple with the cost of revenge.
Shay Hatten’s screenplay is where the film falters most. Despite the rich, established world of the John Wick franchise, its reliance on familiar archetypes leaves the overall story feeling like yet another generic story that feels overly familiar. The lack of originality prevents any real depth from being given to the characters. To compensate, the film leans on its strongest assets, Ada de Armas and its action set pieces.
If there’s one area where Ballerina doesn’t miss a beat, it’s in action. With four films already in the franchise, the John Wick franchise has built a reputation for delivering standout set pieces and Ballerina continues that tradition with style. The action is executed with the expert precision audiences have come to expect, with two sequences in the third act easily competing for some of the best in the series. This franchise understands the action set piece as a visual language, and Ballerina is yet another strong example of that mastery.
As with any entry in the series, the film is rich with familiar faces from previous installments, including Anjelica Huston, the late Lance Reddick, Ian McShane, and of course, Keanu Reeves. While the cameos are minimal, each one is a welcome addition. Reeves, in particular, treats Wick fans to a brief but satisfying set piece that serves as a reminder of why his character remains iconic. On the villain side, Gabriel Byrne is unfortunately wasted, reduced to little more than villain of the week fodder that never feels menacing or genuinely threatening.
At the center of it all is Academy Award nominee Ana de Armas, who cements herself as a bona fide action star. There’s a physical commitment to her performance that can’t be faked. Every punch thrown and fall taken feels earned. But beyond the physicality, she brings a grounded presence to Eve Maccaro, infusing the character with just enough vulnerability to make her pain and rage resonate beyond the bullets and bloodshed.
Ballerina may not reinvent the wheel, but it doesn’t need to. With slick action and a commanding turn from Ana de Armas, it delivers exactly what fans come to this universe for. It honors the legacy of John Wick while carving out space for potential new adventures for Eve.
