DIRECTOR
Len Wiseman
Total Recall, Die Hard 4.0, Underworld, Underworld: Evolution

STARS
Ana de Armas, Keanu Reeves, Ian McShane, Anjelica Huston, Gabriel Byrne, Norman Reedus and Lance Reddick

Any film brandishing the title ‘From the world of John Wick‘ is by default an instant addition to my watch list. I am a fan of the stylistic and stunning action sequences and all round neo-noir production of each film in the highly acclaimed franchise. This spin-off film, set between the events of John Wick: Chapter 3 – Parabellum and John Wick: Chapter 4, might change that perception moving forward, courtesy of a few problems beginning during its production.

Various sources on the internet reveal less or more about the version of this film before its reshoots, but one piece of detail that seems certain is John Wick franchise director and Ballerina producer, Chad Stahelski, refilmed the majority of the movie, which was allegedly a mess prior to. He did so without director Len Wiseman present on set and isn’t credited as director on this project. My reason for including this information in my review is not to spread rumour or gossip, but to say its problematic production is undoubtedly a contributor to why Ballerina is never quite at the same level as the film series it is a spin-off of.

As is the case in all John Wick films, the premise in Ballerina is remarkably simple. When she was just a young girl, Eve (Ana de Armas) witnessed the cold-blooded murder of someone close to her at the hands of The Chancellor (Gabriel Byrne), leader of ‘the Cult’. Taken in and cared for over the years by Winston (Ian McShane), John Wick’s friend and New York Continental Hotel owner, Eve undergoes intense combat training to become an assassin, with her sole goal being to avenge the death she witnessed more than a decade ago. But first, she will need to gain experience via numerous assignments, granted to her by The Director (Anjelica Huston). Little does she know, Eve’s relentless revenge quest will break a centuries old truce between the organisation that have taken her in and the Cult. 

While Ballerina is dancing to the same tune as the John Wick films, infusing its production with an electronic instrumental score that creates a similar vibe, placing emphasis on its set-piece action sequences and stunt work, and boasting some visual flair, there are missteps present that keep it off balance throughout.

The most notable misstep I picked up is the lack of development in Ballerina’s central character. For most part, Eve goes from one assignment and almighty fight to the next in almost autopilot fashion. Sure, she cops some hard knocks and has her challenges, but how about investing some time in the evolution of her physical prowess? Something in this department from the screenplay would have taken us on some form of journey instead of pacily and mindlessly escorting us to the next action sequence. One time where Ballerina does actually build upon its initial premise is when and how it brings cult member Daniel Pine (Norman Reedus) and his daughter into Eve’s existence and the connection there is to The Chancellor. More of these types of developments would have been welcome. 

I also believe it wouldn’t have been too hard or too much to ask a film possessing this title to incorporate what a Ballerina does into the film via its stunts. There is little more than some early abandoned training and the reappearance of figurines to justify the title. Finally, other slight drops in quality observed occur via some noticeable use of CGI and being somewhat less stylistic than the John Wick films. Despite the disappointments, the ongoing action sequences do contain sufficient variation in them to disallow Ballerina from becoming repetitive and for it to remain entertaining over the course of 2 hours. 

Ballerina is showing in cinemas across Australia from June 5th, 2025.

Moviedoc thanks Roadshow Film for the invitation to the screening of this film.

Review by Leigh for Moviedoc

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