From the World of John Wick: Ballerina

There's something exhilarating about seeing a cinematic universe attempt to expand while keeping its DNA intact. Ballerina, the long-awaited spin-off of the John Wick saga, finally hits theaters after numerous rewrites and behind-the-scenes shake-ups. Despite a few structural flaws and the inevitable weight of expectations, what emerges from this explosive ballet of bullets and vengeance is far more captivating than a mere footnote to a beloved franchise. Directed by Len Wiseman, recalibrated under the watchful eye of franchise architect Chad Stahelski, and carried with visceral commitment by the sublime and fascinating actress Ana de Armas, Ballerina not only pays homage to the John Wick mythos, but also dares to introduce a new emotional texture, rooted in female rage, grief, and resilience. The result is a generous, ambitious, and visually stunning action film that breathes new life into this underground cinematic universe. Set between the events of John Wick: Chapter 3 – Parabellum and Chapter 4, Ballerina introduces Eve Macarro, a character briefly glimpsed in Parabellum, but who here comes into her own as a force of nature.

Eve's origins are tragic: as a child, she witnessed her father's murder by a clandestine group led by the enigmatic Chancellor (played with icy detachment by Gabriel Byrne). Taken under the wing of the Ruska Roma and trained by the austere and uncompromising Director (played to perfection by Anjelica Huston), Eve becomes a formidable killer, combining elegance and brutality. The ballet metaphor is never far away: every movement is calculated, every death executed with the ease of a dancer who has rehearsed a thousand times before stepping onto the stage. What makes Ballerina particularly captivating is that it resists the temptation to simply clone John Wick. Instead, the film shapes Eve as a mirror: wounded, determined, but much less invincible. Where Wick evolved as a myth, Eve fights as a woman made of pain and bone, learning as she goes, enduring, adapting, evolving. Ana de Armas is, without exaggeration, the soul of Ballerina.

Her performance is a stunning blend of physicality and introspection, a duality rarely achieved in mainstream action films. Her Eve is vulnerable, burning with rage, but never reduced to a vengeful archetype. Ana De Armas infuses her with nuance: the haunted gaze, the moments of doubt, the silent grief that erupts into violent and graceful fury. Having apparently performed most of her own stunts, including complex sequences involving a flamethrower, she brings an authenticity to her role that is impossible to fake. One scene in particular, an explosive fight in a hallway with a booby-trapped door and grenades, doesn't just entertain, it amazes with the way it showcases both character development and technical prowess. If John Wick was a ghost wandering through the world he once knew, Eve is a flame that sets everything around her ablaze. Ballerina gives Ana de Armas the canvas she deserves, and she paints it with blood and elegance.

Visually, the film is undeniably stunning. Romain Lacourbas' cinematography is among the best in the John Wick film series, with deep shadows, surgically precise compositions, and bursts of neon that give it an operatic feel without falling into self-parody. From the baroque interiors of the Ruska Roma training facilities to the haunted streets of Hallstatt, every location seems to be the stage for carefully choreographed violence. The action is relentless but never monotonous. Chad Stahelski's late involvement is clearly evident, particularly in a few extended sequences shot in a single take that elevate the film far beyond the realm of conventional action cinema. Wiseman, often criticized for the flatness of his previous films, finds a clearer rhythm and a more realistic sense of proportion here. The action isn't just there to impress the audience; it serves the characters, the atmosphere, and the thematic resonance. Not all of the fights are meant to be remembered, but they build up to take on greater significance, like steps in a dance toward redemption.

The narrative, though simple in structure—a tale of revenge set in a landscape of dark beauty—is punctuated with emotional moments that give the film greater resonance. Eve's encounters with Winston (the ever-skillful Ian McShane) and Charon (the late Lance Reddick, in a poignant final appearance) serve not only to provide continuity. They help define the emotional topography of the world, grounding the myth in loyalty, betrayal, and legacy. The inclusion of John Wick, played by Keanu Reeves, is handled with subtlety and restraint. Rather than overshadowing the new protagonist, his presence fits naturally into the story. He's not there to steal the show, but to reflect what Eve is becoming. There's a particularly charged moment between them that works less as a nod to fans than as a passing of the torch, a scene steeped in mutual recognition and silent understanding.

The film's music, composed by Tyler Bates and Joel J. Richard, is another highlight. The soundtrack blends lyrical strings with industrial beats, perfectly matching the film's tonal shifts between grace and destruction. The original song “Hand That Feeds” by Halsey and Amy Lee, unveiled before the film's release, sums up the emotional essence of Ballerina: melancholic, raw, and fierce. It's a soundtrack that elevates every scene, infusing even the quietest moments with tension and pathos. Also worth noting is the excellent song Hand That Feeds by Halsey and Amy Lee (we recommend checking out the excellent music video for it).

Perhaps the most impressive aspect of Ballerina is how it expands the John Wick universe without diluting it. Too often, spin-offs and prequels feel more like brand exercises than narrative necessities. Here, the expansion is thoughtful. The film raises new questions about the Ruska Roma, the invisible political intrigues between the assassin guilds, and the role of women in this hypermasculine ecosystem. Norman Reedus' mysterious character, whose motivations remain delightfully vague, promises fascinating developments for future installments, and the open ending leaves just enough ambiguity to fuel speculation while bringing the story to a close. We can already imagine a new narrative arc centered on Eve, a character charismatic and complex enough to carry a franchise on her own.

Of course, Ballerina isn't perfect. The first act suffers from a few pacing issues, and some of the supporting characters seem underwritten, reduced to archetypes in a world that usually thrives on complex characters. But these flaws don't detract from the experience. They are offset by the film's frenetic pace, its aesthetic mastery, and its willingness to imbue brutality with emotion. The film's main strength lies in its tone: Ballerina knows exactly what kind of film it wants to be. It doesn't try to imitate John Wick to the letter, but expands, refracts, and sometimes questions it. It is both a tribute and an evolution, a requiem and a rebirth.

Ultimately, Ballerina stands out as a remarkable reinvention. What started out as a footnote in Parabellum has now become a chapter in its own right, with its own voice, its own rhythm, and its own heroine. Ana de Armas delivers a performance that will undoubtedly be remembered as a turning point in her career. And the film itself, despite delays, reshoots, and dramatic behind-the-scenes drama, lands with surprising grace and power. It's one of those rare spin-offs that not only justifies its existence but also suggests a whole new mythology waiting to be written. In a cinematic universe built on bullets and ballet, Ballerina is the pirouette that pierces the noise.

Ballerina 
Directed by Len Wiseman
Written by Shay Hatten
Based on Characters by Derek Kolstad
Produced by Basil Iwanyk, Erica Lee, Chad Stahelski
Starring  Ana de Armas, Anjelica Huston, Gabriel Byrne, Lance Reddick, Norman Reedus, Ian McShane, Keanu Reeves
Cinematography : Romain Lacourbas
Edited by Jason Ballantine
Music by Tyler Bates, Joel J. Richard
Production companies : Summit Entertainment, Thunder Road Films, 87North Productions
Distributed by Lionsgate
Release date : June 4, 2025 (France),  June 6, 2025 (United States)
Running time : 125 minutes

Seen on May 28, 2025 at the Grand Rex

Mulder's Mark:

February 2024: The release date of Ballerina is postponed. New action scenes are being shot by Len Wiseman, under the supervision of Chad Stahelski, the original director of the John Wick saga and co-producer of Ballerina. Fans and critics fear the worst. Let those fears be dispelled, Ballerina is worthy of the John Wick franchise, with Ana de Armas as a credible action heroine. This review is spoiler-free.

Ballerina's story takes place between the third and fourth movies in the John Wick saga. Ana de Armas plays Eve Maccaro, a ballet dancer initiated into the Ruska Roma tradition of hitmen. She decides to seek revenge on the clan that killed her father. Like the first John Wick, it's a story of revenge, no matter the cost.

Shay Hatten's screenplay skillfully integrates this story into the saga's universe and its underworld of killers, while drawing inspiration from John Cassavetes' film Gloria. Anjelica Huston reprises her role as the director of the very special Ruska Roma dance school. Ian McShane plays Winston Scott, the manager of the New York hotel. It was an emotional moment to see Lance Reddick again as Sharon, the concierge. The actor performed these scenes during the winter of 2022, before suddenly passing away in March 2023, a week before the release of John Wick 4. Keanu Reeves is back. The Baba Yaga is as cool and fit as ever. The newcomers, all talented, fit perfectly into this solid cast. Gabriel Byrne excels as a mafia clan leader, as does Norman Reedus as a hitman. In the James Bond film, No Time To Die, Ana de Armas had already demonstrated a flair for action. In Ballerina, she intensely portrays the character of a killer, a fierce avenger who fights with her weapons. She is in practically every scene. She combines charm and determination, bringing emotion to this bloody world.

For the past ten years, director Len Wiseman (Underworld, Die Hard 4) has mostly produced series and directed their pilots. He returns to movie, incorporating the codes of the saga. But the direction of Chad Stahelski and the work of his stunt team, 87Eleven, are felt in every action scene. This former stuntman, turned director, and his team manage to innovate with superbly choreographed stunt scenes using never-before-seen weapons. After this film, you'll never look at ice skates the same way again. Loyal to his teams, Chad Stahelski gave a small role to French stuntman Vincent Bouillon, who was Keanu Reeves' stunt double in John Wick 4.

The action of the film takes place in the snowy landscapes of Eastern Europe. The aesthetic of the film is as meticulous as ever, with that cold lighting, always imbued with red and blue. The director of photography is French: Romain Lacourbas. The sets are teeming with references to the saga and homages. A hint: Chad Stahelski loves Buster Keaton.

In conclusion, Ballerina will delight action movie fans and there is no doubt that this film will be followed by a sequel.

From the World of John Wick: Ballerina 
Directed by Len Wiseman
Written by Shay Hatten
Based on Characters by Derek Kolstad
Produced by Basil Iwanyk, Erica Lee, Chad Stahelski
Starring  Ana de Armas, Anjelica Huston, Gabriel Byrne, Lance Reddick, Norman Reedus, Ian McShane, Keanu Reeves
Cinematography : Romain Lacourbas
Edited by Jason Ballantine
Music by Tyler Bates, Joel J. Richard
Production companies : Summit Entertainment, Thunder Road Films, 87North Productions
Distributed by Lionsgate
Release date : June 4, 2025 (France),  June 6, 2025 (United States)
Running time : 125 minutes

Seen on May 21, 2025 at the Metropolitan FilmExport

Sabine's Mark: