'Ballerina' review: 'John Wick' spinoff delivers the action goods

Courtesy of Lionsgate

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“John Wick” is a relic of a bygone era. It’s one of the last homegrown, in-house franchises that started from nothing and became a global sensation. Not since the original “Austin Powers” has there been a series where each installment saw bigger returns, both financially and commercially. Considering Lionsgate doesn’t have much IP in its arsenal, it makes sense they’d want to milk their golden goose for all it’s worth. But it’s still remarkable that “John Wick,” originally destined for a straight-to-DVD release, has endured for over a decade, spawned a TV series, and now, a spin-off.

Enter “Ballerina,” or as the marketing keeps hammering home, “From the World of John Wick: Ballerina” (just in case you were confused). The spin-off, directed by Len Wiseman, has gone through a fair share of starts and stops. Most of the film was completed back in 2022 but then underwent a series of reshoots to punch things up, and, naturally, to add more of Keanu Reeves’ iconic hitman, who pops in for a quick brawl or two.

The fact that it has managed to come together in a tangible way after sitting in the editing bay for nearly three years speaks to the sturdy foundation franchise-stalwart Chad Stahelski built when Wick first sought vengeance for his slain puppy. That foundation ensures one thing: you’re guaranteed jaw-dropping action choreography. And on that front, “Ballerina” delivers. There’s a climactic showdown involving a flamethrower that easily ranks among the saga’s most exhilarating moments.

But then there’s the spin-off conundrum. These kinds of films always carry a certain non-urgency, like a made-for-TV special that happens to get a few of the original players back, yet still feels like it’s grasping to justify its own existence. That sensation is especially present in the film’s first hour, where we meet Eve (Ana de Armas), a dancer with a tragic backstory involving her father’s death. She climbs the assassin ranks of the Wickverse in pursuit of a shadowy figure known as The Chancellor (Gabriel Byrne), who she’s determined to make pay.

The setup is minimal — functional, really — and it threatens to buckle under the weight of franchise expectations. But around the halfway mark, the film flips a switch. Eve uncovers The Chancellor’s location in a remote, snow-covered mountain town, and from there “Ballerina” doesn’t let up. One relentless, chaotic action sequence follows another, with everything from meat cleavers to grenades to shattered kitchenware helping pave the road to revenge. A familiar face even drops in to give things a jolt, and it doesn’t disappoint.

If this wasn’t set in the “John Wick” universe, “Ballerina” likely wouldn’t land the way it does. At its core, it’s a simple revenge tale that leans hard on established lore and aesthetic. Halfway through, it ditches any attempt at deeper themes or character development in favor of pure, unfiltered carnage. But it’s executed with such propulsive visual flair that it’s hard to complain.

De Armas proves herself a worthy addition to the franchise. As anyone who caught her electric scene in “No Time to Die” already knows, she can absolutely throw down. Like Reeves before her, she spends the bulk of the film slashing, stabbing, shooting, and pummeling her way through waves of faceless thugs. While she might lack some of the emotional gravitas or magnetic screen presence of her predecessor, she makes up for it with sheer physical commitment and some genuinely gnarly stunt work.

As for the plot mechanics? Don’t overthink them. Wiseman and writer Shay Hatten don’t bother to elaborate on the “ballerina” concept. Despite Eve being introduced as a dancer, it never really factors into the story. But with action this fast and furious, you’re often willing to look the other way.

Grade: B 

BALLERINA is now playing in theaters.