Movies

Only some entertaining action bits really save Ballerina from fully tripping over its feet

BBG News

As a devoted film enthusiast, let me clarify that Taylor Swift’s lyrics about nothing lasting forever might not apply in the world of Hollywood. Contrary to her sentiments in “Wildest Dreams,” it seems that milking every last dollar from established brand names is an enduring practice. Case in point: the emergence of “From the World of John Wick: Ballerina.”

Two years have passed since the John Wick franchise, led by the charismatic Keanu Reeves, concluded, seemingly putting an end to this beloved saga. However, it appears that Lionsgate, the studio behind John Wick, has a soft spot for greenbacks rather than finales. Thus, Ana de Armas has been enlisted to reboot the John Wick series with a spin-off titled “Ballerina,” nestled between the third and fourth installments of the original films. The intention is to ignite excitement among action movie aficionados.

In the first film John Wick, we find Keanu Reeves’ character, John Wick, peacefully living his life with his dog until some reckless teenage gangsters disrupt everything. Characters frequently hinted at his legendary past in hushed awe, but didn’t delve too deeply into it. The story focused on John Wick’s present-day quest for revenge rather than dwelling on his past. On the other hand, Shay Hatten’s Ballerina screenplay (which was later refined by five other writers) doesn’t follow this concise approach. Instead, it opens with an extended flashback of protagonist Eve Macarro (Ana de Armas), as a child, witnessing her father being killed by The Chancellor (Gabriel Byrne).

Following this tragic event, Macarro, now left without parents, encounters a recognizable figure from the John Wick universe at the police station – Winston Scott, portrayed by Ian McShane. He presents her with two options: lead a regular life or become an assassin. However, in this flashback sequence, Winston and The Director (Anjelica Huston), another veteran from the John Wick world, appear using questionable digital de-aging technology that makes them seem unnaturally artificial. Their movements appear to be slightly delayed, as if they were glitching video game characters. Unlike the first John Wick movie, which challenged excessively digital and overly R-rated action films from the early 2010s like The Expendables, Ballerina seems to be falling into those same unorganic tendencies.

In contrast, while Macarro’s backstory in Ballerina is detailed extensively, it somewhat overshadows the straightforward elegance that characterized the initial John Wick film. Interestingly, the lengthy John Wick: Chapter 4 managed to kick off powerfully with an impressive scene showing Wick vigorously punching a bag. On the contrary, Ballerina starts off loaded with explanations about how Macarro became a ballerina-assassin under The Director and Nogi (Sharon Duncan-Brewster). Instead of focusing on theatricality, it prioritizes background information, leading to the script including not one but two time jumps.

In my opinion, it would be more engaging if director Len Wiseman started the movie “Ballerina” from the point where Macarro is shown two months after she starts her job as a hired assassin. This is because an amusing and dark scene unfolds when “Two Months Later” appears on screen, featuring Macarro casually walking past a hotel room filled with henchmen she’s brutally eliminated. This sets the tone for an action movie in a more compelling manner. Furthermore, the film features some of the most creative camerawork in all of “Ballerina.” Instead of the usual wide shot capturing the protagonist driving away to their next task, the camera work subverts this visual trope by initiating another skirmish. Lastly, “Ballerina” has a good pace and visually exciting moments.

As a movie critic, I might rephrase it as follows: “Starting the ballet-themed thriller ‘Ballerina’ here with a bang, we find ourselves right in the thick of things when our protagonist, Macarro, encounters an adversary bearing a familiar tattoo. This ink links back to one of her father’s killers and leads us to a secretive cult hidden amidst the snowy European peaks. The enigmatic Chancellor, a modern-day Jim Jones or Charles Manson figure, heads this operation. With revenge for her slain father at heart, Macarro must defy the advice of The Director and seek out individuals such as Daniel Pine (Norman Reedus) to uncover crucial information about her targets.

In his quest for vengeance, Macarro participates in numerous combat sequences, many of which were reportedly re-filmed by the original director of John Wick, Chad Stahelski. Bringing another filmmaker to revamp a contemporary blockbuster during reshoots can often complicate an already challenging production. If it’s accurate that Stahelski directed the action sequences in Ballerina, then bringing back this seasoned Wick collaborator seems like a smart move. This spin-off at least offers brief glimpses of the signature fighting style from the John Wick series. If you’re primarily interested in watching people fight in fashionable settings, you might find yourself momentarily content after watching Ballerina.

In this film, Ana de Armas’ action-packed vehicle subtly references classic comedies like the Three Stooges and Buster Keaton’s Steamboat Bill, Jr. The physical fights in Ballerina are reminiscent of the old-school slapstick movies, a style that has been a staple in John Wick films. For example, there’s an entertaining scene where Macarro fights a woman in a kitchen using numerous glass plates, culminating in a comical climax involving a walk-in freezer (the humorous ending is effectively captured in a wide shot). Noteworthy sequences of exaggerated violence also feature Pine cleverly using a plastic tarp and Macarro making full use of some grenades.

Despite the impressive action sequences, some of the backdrops in these scenes aren’t particularly striking, like a dimly lit underground bunker and a forgettable construction site in Prague. The final 50 minutes are set in a single snowy town, which can make different environments seem indistinct. However, Macarro’s fighting style is quite entertaining to watch, as she fights with an intense, wild energy, unlike John Wick’s more polished and calm approach. For example, while Wick fights coolly even when using a large book to attack, Macarro is ferocious in her methods, such as digging her fingers into people’s eyes or casually plunging axes into heads.

The dance moves of the ballerina are somewhat inconsistent, but they shine brilliantly against the rough editing in the rest of the movie. The term “disjointed” seems fitting for this film as it lacks a strong sense of unity or tangible dramatic tension. Regrettably, this overcrowded production is marred by moments of humor that seem out of place, such as jokes about leaving early or puns reminiscent of Fozzie Bear, given that the cult’s kidnapping of a child should have a profound impact on Macarro, who was deeply affected by them in her past.

In simpler terms, this scene where Macarro captures a child doesn’t seem important to the story because it doesn’t affect him strongly. If it doesn’t rattle Macarro, why should it matter to us as viewers? This side plot feels like an extra thread in the story of the movie ‘Ballerina’, struggling to stand out among other plots due to a crowded script. One such element is the mid-movie reveal about Macarro’s family ties with an antagonist, but since this character isn’t developed much, the revelation doesn’t have much impact. Even The Chancellor’s personality, introduced in the opening flashback as someone who talks a lot about ‘fate’, doesn’t reflect this trait throughout the movie until the end. It seems like ‘Ballerina’ has many ideas for emotional scenes, but it lacks the skill to effectively implement them.

Unfortunately, there’s a lack of creativity when it comes to designing captivating villains for Macarro’s adventure. Instead of encountering dynamic characters like Katy O’Brian, Cynthia Rothrock, or Veronica Ngo, she battles faceless minions without any unique traits or screen presence. The thought of the lead character from ‘Ballerina’ facing off against John Wick doesn’t inject much thrill. This seems more like a necessary appearance, one that unfortunately dilutes the impact of her earlier demise in the storyline. It appears that even death cannot keep John Wick out of the spotlight. Mediocre spin-offs continue to capitalize on his fame.

If Keanu Reeves finds limited room for growth in the film ‘Ballerina’, it’s likely that collaborators Tyler Bates and Joel J. Richard also face challenges with their new score for this series. The hint Winston Scott gave to a young Macarro, referring to a classical composer and a ballet music box, seems to have sparked a desire for a score that juxtaposes traditional ballet music with something contemporary and surprising. Consequently, the score leans more towards the electronic soundscape typical of ‘John Wick’, becoming heavily influenced by dubstep and drawing inspiration from Masato Nakamura’s tracks from ‘Sonic the Hedgehog 2’.

In simpler terms, the music in the movie “Ballerina” is mostly similar, which could have been improved by incorporating more variety and uniqueness. The earlier scores from Bates and Richard’s John Wick soundtracks had a mix of different musical influences, but this isn’t as evident in Ballerina. Having more distinct personality and versatility would have made these tracks much better. Despite some strong performances by Ana de Armas and action sequences, the movie ultimately fails to live up to expectations, being more confusing than bad. A version of this film that realizes its full potential only exists in our imaginations.

THIS REVIEW CANNOT GO UP UNTIL 5 PM CST JUNE 3

Read More

2025-06-05 16:15

Previous post U.S. Added 139K Jobs in May: No Big Surprises, Just Another Day in the Economy
Next post Michelle Dockery’s “chilling” new horror movie lands free streaming release in the US