It’s hard to imagine that something as simple and contained as “John Wick” would not only revolutionize the action genre but live on as one of the most bankable action franchises of the last 20 years. Even more surprising is the revenge story of a boy and his lost dog is also an expanded universe that includes a less than stellar TV series and a non stop action thrill ride in “Ballerina.” The latest entry into the Wick-verse, the film gives us a new assassin on the rise piling up bodies at every turn in as many inventive ways as possible. And while you would be right to be approach “Ballerina” with some trepidation – the wash out of “The Continental,” the lack of Chad Stahelski at the helm, and the notably missing series cinematographer Dan Laustsen – the film smartly rests on two things that excel: Ana De Armas as a bonafide action star and a continued inventiveness in stunt work and action.
Series newcomer Len Wiseman (“Live Free or Die Hard,” 2012 “Total Recall“) steps in as director from a script by Shay Hatten (“John Wick 3 and 4” and “Rebel Moon” series which I don’t know that I can forgive him for). “Ballerina” sees de Armas take on the titular role of Eve Macarro, an assassin for the Ruska Roma who has deep family ties to the underworld she doesn’t fully understand yet, having joined the tribe as a young girl after her father was brutally murdered in front of her. As Eve begins her journey as the world’s most badass female assassin, she begins to uncover some secrets about her world and how deeply engrained her family was. Against the wishes of her handler The Director (Anjelica Huston reprising her role) and at the advise of WInston (an also returning Ian McShane), she embarks on her own journey vengeance that will surely disrupt the order of things and bring more fight than she bargained for. “Ballerina” also stars Gabriel Byrne, Norman Reedus, Keanu Reeves, and a welcomed final appearance by Lance Reddick.
The Wick films have never really been known for their plotting. Much like “Mission Impossible,” the action and stuntwork are the priority with the narrative taking a backseat to the onscreen violence. “Ballerina” struggles more than most in the narrative department, keeping a rather pedestrian revenge story at its core and an undercooked expansion surrounding the action set pieces. “Ballerina” bursts with ideas it can’t quite fully realize and truly struggles with developing the story and characters it consistently introduces. This leads to many of the new additions to feel wasted and underutilized, and inadvertenly causes the Reeves cameo to be more of a shoehorned distraction than a welcomed inclusion. Don’t get me wrong, I’m all in on watch Reeves and De Armas go fisty cuffs for a few rounds, but “Ballerina’s” connective tissues is its weakest link across a chain of narratively weak ones.
Thankfully, Ana de Armas rips through “Ballerina” with enough charm and gleeful violence to forgive most of the aforementioned storytelling shortcomings. The sweat equity and magnetism of de Armas cannot be denied, delivering a wholly committed performance that keeps you glued to the screen and invested in her journey even when that journey is rather lackluster on paper. She’s the secret weapon of human weapons, and serves as an excellent distraction from anything that crumbles when you think about it too hard. de Armas isn’t just up for the action challenge, she’s also game for some of the funnier, almost Buster Keaton like scenarios she finds herself in as she mows down bad guys. “Ballerina” knows what their fans want and she knows how to deliver it, and it makes the pairing of brutality and humor a near perfect match. It’s the definition of a crowd pleaser, and a film elevated by seeing it in a packed theater with a rowdy crowd, ready to “ooo” and “ahhhh” and groan at every nasty onscreen kill.
And that’s the other thing “Ballerina” gets right: it digs deep in the well of creativity and goes all out on the action. There’s almost no time to breath as the film unfolds, every quiet moment lasting mere seconds and then we’re thrust into another fight sequence. It’s probably the best way to hide its flaws, and honestly works more than it doesn’t. That’s because the action in “Ballerina” is some of the most brutal, over the top violence the Wick series has given us. Grenades, ice skates, swords, guns, knives, guns on knives, and yes, flamethrowers; “Ballerina” has it all and its glorious to watch and hard to believe that they’re still able to surprise you with what they can cook up. Sure, it doesn’t quite reach the heights of the best of the franchise, but that’s more due to the very high bar set by its own creation already and not necessarily an indictment of the film. Wiseman clearly took some notes and paid attention in class, because “Ballerina” has some excellently framed action and stunt work that rivals almost everything outside of its own universe.
While Dan Laustsen’s gorgeous cinematography is noticeably missing – Romain Lacourbas feeling flat, less vibrant and less singular – “Ballerina” is still a fun, non-stop action thrill ride that knows its strengths and hides its weaknesses behind them. Innovative action, thrilling stunt work, and a backboard shattering performance from De Armas, “Ballerina” is a certified blast sure to satisfy both action and Wick fans alike.
“Ballerina” has one of the most beautiful women in the world being a total badass taking out swaths of henchmen with a knife taped to a gun and lighting them on fire with a flamethrower like an assault rifle. What more could you ask for?
Don’t wait for streaming. “Ballerina” is a theatrical experience and works best on the biggest screen with the loudest, excited crowd you can find.
Rating: 4 out of 5 Stars
“Ballerina” is in theaters June 6th. You can watch the trailer below.
