Ballerina Movie Review: A Stylish John Wick Spin-off | 3.9/5
As someone who’s followed the John Wick saga from its very first headshot to its globe-trotting underworld odyssey, I walked into Ballerina expecting more of what the franchise does best—high-octane action, cryptic assassins, and that uniquely stylish world-building. And in many ways, From the World of John Wick: Ballerina delivers exactly that. It’s a sleek, fiercely choreographed spin-off that doesn’t stray too far from the Wick formula, while also giving us a fresh perspective through the eyes of a new protagonist.
This time, the spotlight shifts to Ana de Armas, who plays Eve—a ballerina trained by the Ruska Roma, a faction we briefly met in Parabellum. The film is set between John Wick: Chapter 3 and Chapter 4, giving it a neatly carved niche within the existing Wick timeline. Eve’s story is simple: avenge her family’s murder. But it’s the execution—pun intended—that keeps things exciting.
From the opening sequence to the closing frame, Ana de Armas owns the screen. She’s not just convincing—she’s magnetic. Her transformation from a grieving daughter to a ruthless assassin feels earned, even if the script doesn’t give her much emotional room to explore. The ballet-inspired combat sequences are a visual treat, blending grace with violence in ways that feel both poetic and brutal. There’s a standout sword-fight scene in a rain-soaked courtyard that had the entire theater breathless.
The fans around me were clearly invested. Audible gasps, mid-fight cheers, and whispered recognition when familiar faces like Winston (Ian McShane), Charon (Lance Reddick), and John Wick himself (Keanu Reeves) appeared, gave the film a celebratory energy. For franchise loyalists, Ballerina expands the universe without breaking it—and that alone makes it worth watching.
But not everything clicks. If there’s one consistent criticism from fans and critics alike, it’s the plot—or rather, the lack of one. The revenge narrative feels recycled, and while the film tries to inject a few twists with the introduction of a rival assassin cult led by Gabriel Byrne’s character, the storytelling remains surface-level. Dialogue feels functional, not memorable. And there are some noticeable timeline inconsistencies that might irritate Wick purists, particularly around Wick’s condition and his evolving relationship with the High Table.
Critics have echoed this duality: the film is praised for its action direction, visual polish, and Ana de Armas’s performance, but faulted for thin writing and a lack of character depth. Some have even noted how it feels more like a franchise placeholder than a fully realized standalone film.
Still, for a franchise built on aesthetics, code, and carefully choreographed violence, Ballerina is a natural fit. It understands the tone, respects the mythology, and injects just enough flair to keep things interesting. It’s not a reinvention of the genre—but it never tries to be.
Final Verdict:
Ballerina is a worthy addition to the John Wick cinematic universe. Ana de Armas delivers a captivating performance, the action is top-tier, and the visual style remains consistent with the franchise’s noir-inspired identity. While the story lacks the emotional complexity and philosophical depth of the main series, the film succeeds in expanding the Wickverse in a way that feels organic. It’s a treat for action lovers and a must-watch for John Wick fans.
Rating: 3.9 out of 5
