Have you ever pondered what would happen if two individuals wielded **flamethrowers** against each other? Enter *Ballerina*, the latest spin-off from the iconic *John Wick* universe. While the film captivates viewers with **absurdly exhilarating action sequences**, it struggles under the weight of **lackluster storytelling**. Simply put: when the action kicks in, it’s thrilling; when it doesn’t, it verges on unbearable.
The marketing claims loudly that *Ballerina* dwells in the *John Wick* realm, with posters emphasizing the film’s awkward title, “From the World of John Wick: Ballerina.” Although glimpses of **Keanu Reeves** adorn the trailers, his role amounts to little more than a glorified cameo. The presence of Reeves amplifies the film’s inherent flaws rather than saving it. We recognize his face, but the connection falters as we traverse through a narrative that fails to maintain the franchise’s captivating essence.
*John Wick* has become a phenomenon for various reasons—stylish filmmaking, memorable action, and an increasingly intricate lore. Yet, the real magnetism lies in watching **Keanu Reeves** dispatched foes with an arsenal of creativity. Consider the ill-fated TV series *The Continental*: did anyone discuss that after its release? Probably not, as it lacked the essence that makes *John Wick* riveting.
The Pacing Fails to Deliver
As *Ballerina* showcases **Ana de Armas** in the lead role of Eve Macarro, the film endeavors to carve out new avenues for the franchise while attempting to balance the absence of Reeves. De Armas carries the weight of the narrative with her **charismatic presence**, convincingly dispatching hordes of nameless adversaries. But herein lies the **irony**: *Ballerina* lacks the operatic grandeur that defined its predecessors. Reeves’ appearances often feel more distracting, diminishing the essence of Eve’s journey.
The film embarks on a revenge narrative reminiscent of the *John Wick* setup, as Eve seeks retribution for her father’s murder by a shadowy figure, portrayed by **Gabriel Byrne**. Orphaned, she finds refuge among the ritualistic assassins of the **Ruska Roma**, learning both ballet and the deadly art of assassination. While the concept itself is intriguing, the first hour is mired in tedious exposition. Instead of being engaged, I found myself squirming in my seat, yearning for the thrill of the action to commence.
Even **Ian McShane** and the late **Lance Reddick** appear to remind audiences of much more riveting narratives. Their roles do little to elevate a story that ultimately feels **uninspired and flat**.
Action Scenes that Spark Excitement
However, *Ballerina* redeems itself when the action finally erupts. One memorable scene features Eve utilizing hand grenades, taking the action genre into uncharted territory. Who could forget the moment she inexplicably jabs a grenade into an unfortunate villain’s mouth? Such outrageous moments are amusing and thrilling, reminiscent of the **Three Stooges**, as characters hilariously smash dinner plates over each other’s heads mid-fight. The action is genuinely exhilarating, though the **sparse frequency** of these scenes leaves the film gasping for air.
Intriguingly, Byrne’s character, the Chancellor, leads a mysterious cult of assassins. This concept teeters on the edge of fascinating, but the script stumbles, failing to immerse the audience in this newly introduced element. Byrne, an actor of immense talent, is left with little to do except stand around and grumble.
Meanwhile, Eve’s character development falters. While *John Wick* resonates deeply with audiences due to its nuanced storytelling, Eve feels somewhat flat, lacking the emotional depth that makes for an engaging protagonist.
A Rollercoaster Experience
Ultimately, *Ballerina* elicits a tumultuous viewing experience. Each time I thought it lost its momentum, a vibrant action sequence would revive my interest. The rollercoaster of emotions left me bewildered, teetering between boredom and exhilaration. Yet, this inconsistency cannot mask the underlying fatigue setting in.
Lionsgate’s desire to sustain the *John Wick* franchise is clear, yet *Ballerina* illustrates that there’s a **fine line** between maintaining momentum and oversaturating a universe beyond its limits. Moreover, the lackluster direction and cinematography contribute to its forgettable nature; after witnessing the stunning visuals of past *John Wick* titles, *Ballerina* feels disappointingly drab.
/Film Rating: 5 out of 10
*Ballerina* hits theaters on June 6, 2025.
