The John Wick franchise has always thrived on its tight choreography, minimalist storytelling, and relentless pace, but Ballerina, the latest entry in the universe, takes a noticeably different approach—and not always to its benefit. 

Directed by Len Wiseman (The Underworld films, Total Recall), rather than franchise stalwart Chad Stahelski, the film presents a tonal shift that might intrigue some fans, but will ultimately leave others wanting more.

Set between John Wick: Chapter 3 – Parabellum and Chapter 4, the film centres on Eve Macarro, played by Ana de Armas, a ballerina trained in the deadly arts by the Ruska Roma. Eve embarks on a mission of revenge, traveling deep into the criminal underworld we’ve come to know through Wick’s exploits. Along the way, she crosses paths with familiar faces including Keanu Reeves – in an all too brief cameo – as John Wick, Anjelica Huston as The Director, Ian McShane as Winston, and the late Lance Reddick in his final turn as Charon. Meanwhile, Gabriel Byrne shines as the villain du jour, AKA chancellor.

While the film has all the necessary ingredients for a strong action thriller—guns, vendettas, shadowy allegiances—it often struggles to maintain the momentum that has made the mainline Wick films so iconic.

Much of this comes down to pacing. The middle act in particular drags, weighed down by repetitive dialogue and scenes that feel more like placeholders than compelling steps in Eve’s journey. There’s an emotional arc here, but it’s thinly sketched and rarely pushes beyond surface-level stuff.

Ana de Armas delivers a committed performance, bringing physicality and intensity to her role, and she’s undeniably a strong addition to the franchise. Her fight scenes are impressive and clearly reflect the extensive training and effort that went into the choreography. However, the action—while competent—lacks the brutal creativity and balletic rhythm that fans have come to expect. The set pieces feel safer, more grounded, and ultimately less memorable than what Stahelski brought to previous entries.

The film’s shift in tone is one of its boldest departures. Wiseman leans into a more stylized and moody atmosphere. It’s a valid artistic choice, but one that might not satisfy those expecting the sheer brilliance of a typical John Wick outing.

What Ballerina does manage, however, is to carve out space for a new kind of lead in this universe. Eve is distinct from Wick—not just a female version of the same archetype—and the film lays some interesting groundwork for future stories. But it struggles to stand entirely on its own. Without the backbone of a stronger narrative or more dynamic action, it leans too heavily on connections to the broader franchise.

In the end, Ballerina is an interesting experiment—a spinoff that dares to be different but falls short of the excellence that defines its predecessors. It’s worth a watch for diehard fans, but unlikely to win over new ones.

REVIEW OVERVIEW
Ballerina
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Linda Marric
Linda Marric is a senior film critic and the newly appointed Reviews Editor for HeyUGuys. She has written extensively about film and TV over the last decade. After graduating with a degree in Film Studies from King's College London, she has worked in post-production on a number of film projects and other film related roles. She has a huge passion for intelligent Scifi movies and is never put off by the prospect of a romantic comedy. Favourite movie: Brazil.
ballerina-review-2Ballerina is an interesting experiment—a spinoff that dares to be different but falls short of the excellence that defines its predecessors. It’s worth a watch for diehard fans, but unlikely to win over new ones.