Director Len Wiseman and writer Shay Hatten deliver a solid treat for action junkies and even satisfy the fiercest feminist’s appetite for a gripping, no-holds-barred noir.
Rating: ⭐️⭐️⭐️ ( 3 / 5)
By Mayur Lookhar
Action franchises often lose steam quickly, but Derek Kolstad’s John Wick series has been a rare exception. Since its debut in 2014, it’s delivered four tightly crafted films over 11 years. Now, Lionsgate is expanding the world with a well-timed spinoff, Ballerina (2025). This isn’t a sidekick story—John Wick doesn’t need one—rather, it follows Eve Maccaro, a fierce assassin who’s a powerful force all on her own.
She made a brief appearance as the ballerina in John Wick: Parabellum (2019). Six years later, it’s not Unity Phelan but Cuban-Spanish sensation Ana de Armas who steps into the shoes of Eve Maccaro. Also joining the John Wick franchise is director Len Wiseman, best known for the Underworld franchise. Chad Stahelski, who helmed all four previous films, served as producer, while Parabellum writer Shay Hatten penned the screenplay for Ballerina.
Story
Set between Parabellum (2019) and Chapter 4 (2023), Ballerina follows Eve Maccaro (Ana de Armas), who’s out to avenge her father Javier’s murder at the hands of a dangerous tribe 12 years ago. As a child, Eve was taken in by Winston Scott (Ian McShane), the manager of the New York Continental Hotel. He placed her in the care of the Ruska Roma, a clan that trains young girls to become both ballerinas and assassins. From a young age, Eve has been driven by a single goal: vengeance. But her obsession leads her to break the rules and go rogue in a relentless hunt for her father’s killers.
Screenplay & Direction
The revenge plot might be clichéd, but with a woman at the center, it’s instantly intriguing. Eve has waited 12 years, growing restless as the Ruska Roma leader, The Director (Anjelica Huston), keeps holding her back. Weighed down by years of emotional baggage, she struggles in the early stages of training. When she finally confronts The Director, she’s given sharp advice: “Start fighting like a girl.” Eve takes it to heart—and soon, she’s ready for action.
Even as a spinoff, it’s hard to imagine a John Wick universe film without the cult hero himself. While most of the other girls admire him, Eve isn’t a fan—she simply respects his legend. That’s why it’s a bit surprising that Lionsgate chose to market the film as From the World of John Wick: Ballerina. Does that overshadow Eve’s individuality? During their brief fight, Eve spends most of the time on the defensive. It’s a thrill for franchise loyalists, but it partly keeps her in Wick’s shadow. Ballerina holds its own, but commercial pressure may have tied the hands of Wiseman and writer Shay Hatten.
Revenge may be best served cold, but after waiting 12 long years, Eve erupts with fury once she’s set loose. The action comes in waves—relentless, brutal, and more graphic than anything seen in the earlier John Wick films. Director Len Wiseman and writer Shay Hatten barely pause to let the story breathe, especially in the first half. Eve’s thirst for revenge is unstoppable, and she destroys everything that stands in her way.
In the world of John Wick, only the toughest survive. Revenge can push people to the edge—but when it comes to showing children in violent settings, it needs to be handled with care. Whether it’s the Ruska Roma or the enemy cult in Hallstatt, it’s unsettling to see kids react so coldly to the brutality around them. Interestingly, some desi female viewers—who might usually look away from such gore in Bollywood or Tollywood—seemed to be cheering during these scenes in Ballerina. Personally, this reviewer has never been comfortable with children being exposed to violence on screen. But maybe what Len Wiseman and Shay Hatten are really showing is that kids are shaped by the world they grow up in.
After an action-heavy first half, Ballerina finds its rhythm in the second, balancing action with the right dose of emotion.
Acting
Ana de Armas has been on a steady rise since her breakout in Knives Out (2019), followed by impressive turns in No Time to Die (2021) and Blonde (2022), which earned her an Oscar nomination for portraying Marilyn Monroe. In Ballerina, she plays Eve Macarro—a trained ballerina and a lethal assassin. She doesn’t rely on brute strength, but on sharp athleticism and precision. Aside from a few early low blows, there’s nothing “fight like a woman” about her action scenes—she’s a brutal, no-nonsense killer. Still, her softer side surfaces when she saves a young Southeast Asian woman and later spares Daniel Pine (Norman Reedus) because his daughter is with him. That blend of mercy and menace defines her final mission: revenge, and protecting the innocent. De Armas fully channels Eve’s Kikimora spirit, and the biblical “Lux in Tenebris” tattoo—Latin for Light in Darkness—adds depth to her persona. de Armas is sharp and commanding in action, bringing an intense emotional edge that sets her apart from today’s action stars.
Lionsgate built up the John Wick vs. Eve clash like a wolf stalking its prey—and truth be told, it’s this brief showdown that draws the loudest cheers. In the franchise, Wick is called Baba Yaga, a name borrowed from Slavic folklore where it refers to a mysterious, fearsome witch. In John Wick, it signifies an unstoppable killer—“the one you send to kill the Boogeyman.” Eve isn’t the Boogeyman; she’s a Kikimora, a female house spirit reimagined here as a lethal assassin. John Wick doesn’t need a sidekick—but looking ahead, a tag team isn’t entirely out of the question.
The cult in Hallstatt is a bit puzzling. It’s described as the most dangerous tribe—around for 200 years, killing not just for contracts but for sport. So, it’s hard to understand how Eve ends up wounded in her first fight with them, despite all the buildup. Their leader, known as The Chancellor (Gabriel Byrne), comes across as more philosophical than threatening. For a group that murders for fun, is that really the kind of leader you’d expect? Given how Hallstatt claims to cherish family values, their gruesome acts feel out of sync with that belief.
Technical aspects
Ballerina raises the stakes for action in the John Wick universe—though it leans more into brutality than the earlier films. The action choreography and production design are standout elements, bringing style and intensity to every scene. From the tense shootout at Javier’s house to Eve’s first mission in an ice-themed nightclub, later a sleek hotel, and the explosive finale in the icy streets of Hallstatt, everything feels meticulously crafted. Len Wiseman, along with his team, delivers a visual experience that’s both gritty and polished. True to her character, Eve sticks to a personal code—she never harms a woman unless she’s left with no choice. That makes her wild fight with a café worker in Hallstatt especially gripping. Even after warning, “I won’t hurt you,” Eve is forced into a full-blown brawl when the woman goes on the attack, throwing knives and whatever else she can reach.
Final verdict
Ballerina is far from perfect, but it’s a well-timed and welcome spin-off in the John Wick franchise. There was room for a bit more drama, but its audience clearly craves action—and on that front, it delivers. It’s a solid treat for action junkies and even satisfies the fiercest feminist’s appetite for a gripping, no-holds-barred noir.
Video review to follow.