Ballerina (2025) review: A Ballet of bullets and blood – but does it land?

Ballerina enters the John Wick universe with serious expectations on its shoulders — a new assassin, a new perspective, and a lead who can swing, stab, and shoot with elegance. Directed by Len Wiseman, the film stars Ana de Armas as Eve Macarro, a trained killer raised by the Ruska Roma.

Her mission is personal — avenging her father's death — but her journey pulls her deeper into a world even more twisted than she imagined.

With returning faces like Keanu Reeves, Anjelica Huston, and new additions like Norman Reedus, Ballerina builds on Wick’s world of assassins, codes, and consequences. But the big question remains: Does this spin-off find its rhythm, or does it misstep in the shadow of its predecessor?

Let’s break it down — action, story, character, and connection to the franchise.

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The action: Messy start, strong finish

If you’ve watched John Wick, you know what to expect — clean, close combat with visual clarity. Ballerina, however, stumbles in its early fight sequences. The first half leans on fast cuts, shaky cam, and rapid edits. It’s hard to follow. Some of the choreography feels hidden, rather than showcased. The action doesn’t breathe.

But hold on — the second half is where the film finds its footing. The fights become sharper. Eve adapts. She uses what’s around her — glass shards, grenades, kitchen tools. Her style is messier than Wick’s, more reactive. She doesn’t glide — she scrambles, she surprises. And that works.

One flamethrower scene in a snow-covered courtyard stands out. It’s excessive, yes, but that’s kind of the point. By then, the film finally feels like part of the same deadly dance the franchise is known for.

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Ana de Armas as Eve Macarro: A fighter in her own right

Ana de Armas brings something new to this universe — vulnerability without weakness. As Eve, she’s focused and fierce, but the film gives her space to feel. She’s not invincible. She bruises. She bleeds. She grieves.

Eve’s fighting style mirrors her past — less discipline, more desperation. That unpredictability becomes her weapon. She doesn’t fight like John Wick, and that’s okay. Her moves are less rehearsed, more instinctive. When she flips a situation with nothing but a pen and a table leg, you believe she earned that moment.

That said, her quick recovery from some brutal hits might stretch realism a bit. But in the logic of this universe, where assassins survive worse, it fits the tone.

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Story & structure: Simple goals, complex surroundings

The story is straightforward: Eve wants answers about her father’s death. She gets more than she asked for. Along the way, she unearths a powerful cult hiding under layers of criminal networks. There’s betrayal, family ties, and heavy consequences.

It’s not a twist-heavy plot. And yes, at times, it feels like it plays it safe. The emotional beats are there, but they don’t always hit hard. What keeps things moving are the stakes — Eve isn’t just chasing closure; she’s triggering a war between assassin factions.

Some scenes slow things down too much, and the tension dips in parts of the middle act. But key moments — especially between Eve and her sister Lena, or her encounter with the Chancellor — hold emotional weight.

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The supporting cast of Ballerina and the franchise links

Ballerina never forgets where it came from. The Ruska Roma. The Continental. The High Table. It’s all threaded through the story.

Anjelica Huston returns as the Director, just as commanding as ever. Her scenes remind you that this world runs on rules, rituals, and blood oaths. Norman Reedus plays a mysterious Continental contact, though his screen time is limited. His character hints at wider alliances and hidden motives, but doesn’t get explored deeply.

And of course, there’s Keanu Reeves.

John Wick appears — not just as a cameo, but as a moral pivot. He’s sent to kill Eve, but gives her a deadline instead. That small moment, that hesitation, says a lot. He recognizes the fire in her. He helps her finish what she started. His role is short but impactful.

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Visuals and vibe: Classic Wick aesthetic with a feminine edge

Visually, Ballerina looks right at home. Think shadows, neon lights, snowy alleys, and candle-lit corridors. It keeps the Wick signature — but adds a touch of elegance.

The ballet influence is subtle but smart. Fight choreography occasionally mimics dance — fluid turns, sharp landings, rhythmic pacing. But it never becomes gimmicky. The set design, especially the Austrian cult compound, adds to the eerie tone of Eve’s mission.

The only hiccup? The early scenes’ editing choices. When the camera pulls back and lets the action breathe, the impact is stronger. Thankfully, by the end, the visual language finds its balance.

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Audience response & takeaway

Reactions to Ballerina are mixed, and that makes sense. If you’re coming in expecting Wick-level innovation, you might feel a little underwhelmed in the first half. But if you stick through it, the payoff arrives.

Fans appreciate Ana de Armas’s effort and the film’s steady build-up. Critics point to pacing issues and a basic plot, but acknowledge its franchise value. It doesn’t shake up the Wick universe, but it adds a new layer.

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Final verdict: Is Ballerina worth the ticket?

Ballerina doesn’t aim to replace John Wick — it expands the world through a different lens. Eve is not a carbon copy. Her pain is different, her path more emotional, her mission less tactical, more personal.

The film works best in its latter half, when it leans into chaos, lets Ana fight her way through fire, and sets up future chapters. It may not be the most polished entry, but it’s a solid one.

For fans of the franchise, Ballerina is a worthy spin-off. For newcomers, it’s a gritty origin story with enough action and heart to hold attention.

It’s not a leap — it’s a calculated pirouette into a darker, colder corner of the Wick world.