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Ballerina is a real litmus-test moment for the John Wick universe.
The Continental, the franchise’s first TV project, was a risky prequel series that lacked Keanu Reeves’ star power and, by proxy, indicated that Lionsgate’s billion dollar-spinning enterprise couldn’t flourish without Reeves’ iconic hitman being front and center in its various productions.
Ballerina appears to suggest otherwise. The fifth film in the series – and the first that doesn’t feature Reeves as its lead – is a typically thrilling franchise entry that shows ‘The World of Wick’ could have a bright future without Reeves at the helm. Well, that is as long as future Wick-Verse movies and shows don’t fall into the same hackneyed traps that Ballerina occasionally does.
When you think of me, you should think of fire
Set between John Wick Chapter 3: Parabellum and John Wick Chapter 4 (learn more about the franchise’s timeline in my guide on how to watch the John Wick movies in order), Ballerina stars Ana de Armas as Eve Macarro.
The child of an assassin who was gunned down for apparently betraying the criminal organization he was a member of, the orphaned Eve is taken in by the Ruska Roma, the crime syndicate that also raised and trained Wick.
It’s easy to draw comparisons between Ballerina and the first John Wick movie
Years later, the now-adult Eve carries out covert missions for the Ruska Roma. However, when she realizes her latest target has ties to the enigmatic gang that murdered her father, Eve ignores the orders of her surrogate family’s matriarch in The Director (Angelica Huston) to let things lie. Cue Eve going rogue as she embarks on a one-woman quest to track down her father’s killers and seek vengeance.
With its classic tale-of-revenge format, it’s easy to draw comparisons between Ballerina – or, to type out its full title, From the World of John Wick: Ballerina – and the first John Wick movie.
Sure, there are subtle differences between their plots. 2014’s John Wick sees Reeves’ retired hitman punish those who stole his beloved Mustang and killed the puppy that his deceased wife posthumously gifted Wick to help him through the process of grieving her loss.
Here, Eve seeks retribution for her dad’s murder, and in the process she unearths some big secrets about her past that, as plot twists go, are so derivative I spotted them from the get-go. Those narrative distinctions aside, though, the basic plot structure and themes explored in both films are the same, which is why parallels will inevitably be drawn between them.
Watching Eve’s competency in the field improve… makes for pleasant viewing
That said, the narrative disparity between this duo is felt most keenly in how Ballerina sets up its tale. Act one is an origin story in all but name, with the film’s first 45 minutes establishing Eve’s backstory and events that led to her joining the Ruska Roma before transitioning to the modern day. In that sense, Ballerina‘s opening act isn’t unlike that of Furiosa: A Mad Max Saga, whose five-act plot plays out in a similar manner.
Interesting as it to witness Eve’s transition from traumatized child to skilled assassin, Ballerina‘s first act feels drawn out. For a movie that clocks in at two hours, the fact that it takes 45 minutes to get to the meat of the story is a disproportionate amount of time to spend on narrative set-up. Sure, it’s fun to see Eve’s competency in the field improve – she makes plenty of mistakes along the way, mind you – as the first act progresses, but Ballerina could’ve reached its critical storytelling juncture far earlier than it does.
Enemy of my enemy
Once its actual story gets going, Ballerina becomes an exercise in hasty plot exposition and world-building, and typically breathless and violent action.
Ballerina further embellishes the seedy nature of this fictional world
Where the former is concerned, Ballerina‘s intriguing expansion of the John Wick universe further proves that it’s not just a world where assassin guilds are commonplace.
Previous Wick-Verse films have tentatively spotlighted other criminal gangs that inhabit this franchise. However, Ballerina, which shouldn’t be called a John Wick spin-off, according to director Len Wiseman, confidently embellishes the seedy, complicated nature of this fictional world by revealing that the High Table isn’t the sole establishment that governs the criminal underworld’s various factions. Spoilers notwithstanding, I’m eager to see how future films and TV shows will expand on the splinter organizations introduced in this movie and establish others with their own mythos.
As for its physically demanding set-pieces, Ballerina‘s will draw “oohs” and the odd expletive-laden comment from audiences. Like John Wick, Eve is a quick-thinker who uses everyday items to gain the upper hand in combat and take out the foes she faces in her big-screen debut. The flamethrower-centric action sequence, which featured heavily in Ballerina‘s official trailer, is likely to be many viewers’ most-loved set-piece in this film, but separate fights involving a stack of plates and a pair of ice skates were my particular favorites.
Entertained as I was by Ballerina‘s action, some moments felt a little amateurish. Indeed, there are a couple of set-pieces in act two where there’s a notable delay between actors – or their stunt doubles – taking hits and reacting to said body blows, which temporarily pulled me out of the moment. They’re not the worst situations I’ve seen in an action thriller flick, but they reduce the believability of the duels on show.
Rules and consequences
Those occasional moments may be missteps, but the manner in which Ballerina handles Wick’s small but significant appearance isn’t.
Fans have known that Reeves’ legendary gun-for-hire would turn up since Ballerina‘s first trailer was released last September. Thankfully, his role in proceedings – I didn’t time it, but I’d say Reeves’ screentime is around 10 minutes – is not only a natural fit for the story Ballerina tells, but also ensures Reeves doesn’t upstage de Armas in her own movie.
Don’t worry, though, Wick fans, he gets his own incredibly satisfying action sequence – one that takes place after the suspense-filled confrontation he has with Eve –that’ll satiate your desire to see him take names and kick ass.
The supplemental appearance from Reeves’ beloved hitman aside, if I had to be hyper-critical of Ballerina, it doesn’t do much with the rest of its starry ensemble.
Norman Reedus’ Daniel… is criminally underused
Yes, Huston’s The Director earns more screentime here than she has in prior John Wick films. Ian McShane’s Winston and the late Lance Reddick’s Charon earn their stripes in their respective minor and cameo roles, too. Given Ballerina‘s sharper focus on the Ruska Roma, plus Winston’s active role in shaping Eve’s life, though, I expected them to feature more than they did.
The same goes for Norman Reedus’ Daniel, a mysterious individual with ties to those who killed Eve’s father who, aside from inadvertently complicating Eve’s quest for revenge, is criminally underused. Considering Ballerina‘s release was delayed so additional photography could take place to include scenes that were initially removed from the script, I’m baffled over the lack of airtime afforded to Reedus and some of his contemporaries.
My verdict
Ballerina is an entertaining, largely self-contained story whose typically high-octane nature will appease John Wick devotees and offers a soft narrative reset that makes it accessible to franchise newcomers. With de Armas’ likable badass at the helm, it’s an entry that could spawn its own film series within the wider John Wick universe, and it’s one I certainly think is worth exploring.
That said, Lionsgate and Wick’s chief creative team can’t rely on the shock value of its violence, nor copy and paste its revenge tale formula into stories starring other characters, forever. Whether it’s the very-early-in-development John Wick Chapter 5, the forthcoming flick starring Donnie Yen’s Cain, or the franchise’s anime-style TV show, fans will demand something far more creative or fresh in the future.
If Ballerina is popular and financially successful to warrant a sequel, and if said follow-up cracks the originality code, we could look back on this de Armas-fronted film as the one that proved the Wick-Verse is in safe hands without Reeves steering the ship. Fail to do so and, to paraphrase Marvel anti-hero Wade Wilson from Deadpool and Wolverine: “Lionsgate will make Reeves do this until he’s 90!”.
From the World of John Wick: Ballerina opens in theaters worldwide on Friday, June 6.
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tom.power@futurenet.com (Tom Power)
