BALLERINA (2025) – Review

With another post-Memorial Day weekend, yet another franchise arrives with a new entry at the multiplex. It feels like a week ago (and it was) that I wrote about the return of THE KARATE KID, which was a sequel/reboot that dealt with the loss of a major supporting character, Mr. Miyagi. This new film takes on the challenge of continuing a series when the major “title” character met his end (yeah, probably…) in the last installment. Well, you bring in another, similar “principal” and set the story during the “in-between” time of previous entries. This way, that beloved figure can be “ret-conned” using old footage and new scenes, as a supporting player “passing the torch”. Or in this case, “tossing a huge freakin’ gun with an endless clip”. And so, here’s the new “super action” diva known as BALLERINA, though many sites list it with the “play it safe” “intro tile” of IN THE WORLD OF JOHN WICK, since they want all to know that this “aint’ no” frilly ballet flick (but it does briefly concern that).

And it’s the first image we see, namely, an amusic-box style toy with a twirling tutu-wearing dancer in a glass bubble. It’s the prized possession of eight-year-old Eve, who is living a peaceful life with her widowed young father in a blissful beach estate. He mentions a lost older daughter before the tranquility is shattered by a force of heavily armed men. Eve hides behind a wall, but through a row of books she watches her battered papa get questioned by the group’s leader, a dark, brooding man known as the Chancellor (Gabriel Byrne). Before he expires, Daddy leads Eve away, after she spots an odd “X” marking on the wrists of the killers, to a safe spot where she is eventually taken in by Winston (Ian McShane), who puts her under the protection of the New York Continental. As the years pass, Eve (Ana de Armas) travels to the theatre location of the fearsome Ruska Roma to begin training as a classical dancer under the strict guidance of the “Director” (Angelica Huston). Actually, Eve divides her time between the ballet and bullets, as she also learns to become an elite assassin, and gets a bit of advice from a sullen visitor, John Wick (Keanu Reeves), himself. On her first big assignment, Eve encounters one of the “X-marked” men, which leads her to the Prague Continental, where another widowed father, Daniel Pine (Norman Reedus), is trying to break away from the “X cult” and the Chancellor. This sends Eve, despite stern orders from the Director to stay away, to a snowy, quiet Alpine village for a final “revenge quest” against the Chancellor, who brings in the “biggest gun” (you-know-who) to end the deadly dance of the blood-soaked ballerina.

As one of many who groused that her appearance in the last James Bond flick was far too brief (really one of that lackluster flick’s best sequences), I was pleased that we get to see the captivating Ms. de Armas in full “action queen” mode as the revenge-obsessed Eve. Her “hyper-focused” stare and superb physical combat skills really carry the simple story across the globe. We get to see a touch of Eve’s emotional anguish, often as she strives to be a “killer dancer” rather than the former, but the filmmakers want to firmly establish a new “force,” and Ms. de Armas is more than up to the often exhausting task. Plus, she has an excellent rapport with Reeves (actually their third film together), who slips right back into the stoic, sullen Wick as though he were donning one of his indestructible jackets. His time in her tale is brief, but Reeves brings the gravitas as he gently nudges Eve into the spotlight. Byrne is effective as the calm, cool mastermind, balancing a soft, gentle tone ( a mask, really) with the malignant, murdering tyrant interior. Also, as another tough crime veteran, Houston still captures us with her piercing glare as another major “player” in the global underground. Bringing a lot more warmth is the suave McShane, as the mentor/uncle to the emotionally scared little Eve. Another great father figure is Reedus as the dad “on the lam” who points Eve, like a weapon, toward her goal/target. Big kudos for the producers for giving us one last visit from the taken-too-soon Lance Reddick as Winston’s firm but friendly “right hand”, Charon.

Director Len Wiseman, perhaps best known for the first two UNDERWORLD action/horror flicks, gets the best from his impressive stunt team along with his f/x artists, to expand on the “Wick world”, as they travel the planet and leave countless corpses in their wake. Yes, action “adrelaine junkies” will get a strong “fix” here as Eve piles ups the baddies in loads of new creative waves. One sequence has her “making do” with boxes of old hand grenades, turning much of a massive basement into a “Pollack painting” of destruction. It’s all nasty R-rated splattered fun, up until a point (perhaps the 90-minute mark). Ultimately, the new “spin-off” suffers the excesses of the last Wick epics as the “first-person-shooter” video game-style mayhem becomes a tad tiresome past the two “full of fatalities” hours. Yes, some of the dance/fights are engaging and creative, but it all hinges on the flimsiest and cliched vengeance plots. The locations are pretty nice, particularly a massive indoor “meat locker” frigid dance hall. Ms. de Armas is a charismatic and stunning action heroine who deserves a bolder sequel script that will build on the stunt-heavy, “drama-lite” BALLERINA.

2.5 Out of 4

BALLERINA is now playing in theatres everywhere