Ballerina, a spinoff from the John Wick series, proudly showcases its Russian ties, notably through its incorporation of Pyotr Tchaikovsky’s Swan Lake. The ballet’s music is seamlessly blended with the franchise’s iconic soundtrack. A pivotal action scene unfolds in a snow-covered town, adding a chill to a series that already includes elements of the Western genre. In her journey to confront her abuser, the film’s protagonist, Eve, embodies both the white swan and the black swan.
The connection to Swan Lake lends a surface-level justification to a movie that is nearly the opposite of the original John Wick film. Directed by Len Wiseman, with a script by Shay Hatten, this installment integrates events and characters from the John Wick universe.
Eve’s relentless pursuit of vengeance, her violent encounters with adversaries at every turn, the absurdly serious rules that dictate her world, and her stay at the Continental Hotel designed for assassins all point to Ballerina being a reimagined iteration of John Wick, albeit with a few new elements.
Eve (Ana de Armas) is transformed from an orphan into a fearsome assassin, molded by the enigmatic Russian Roma figure known as the Director (Anjelica Huston) and equipped with ballet skills. Proving to be more adept at wielding firearms than performing ballet, Eve eventually breaks free from the Director after tracking down her father’s killer, the Chancellor (Gabriel Byrne).
Once the uninspiring backstory is out of the way, Ballerina settles into what these films do best: existing in the moment—or rather, fighting to survive it. Among the spaces Eve wreaks havoc in are an arms store and a café, showcasing her similarities to John Wick (Keanu Reeves). The film’s explosive finale features a breathtakingly filmed extended climax, with knives, guns, and flamethrowers unleashed. Even a snow boot proves useful in the chaos.
Winston (Ian McShane), the manager of the Continental in New York, makes a cameo, as does John Wick himself. Reeves’s appearance electrifies the 127-minute feature; he excels at portraying the invulnerable, slightly ironic assassin, while Ana de Armas primarily conveys a tone of brooding athleticism. Ultimately, Ballerina emphasizes meticulously crafted action sequences rather than focusing on Eve’s emotional journey.
These films have transformed violence into an art form. The fights between Eve and the numerous foes seeking to eliminate her exhibit a dynamic, improvisational style, rendering them the most authentic element in a film that makes no pretense of realism.
The flawless action choreography has sustained the John Wick franchise through four films. The fifth installment continues to honor the John Wick legacy, if only in its inventive methods of depicting death.
