Review: ‘Ballerina’ spins its lead into oblivion
‘Ballerina’ understands the assignment when it comes to the fight scenes, but it forgets to humanize its protagonist.
In 2014, John Wick not only launched a franchise, but reinvigorated a subsection of action movies that was light on narrative and heavy on ultra violence. With each film, the stakes were raised and the gauntlets the title character needed to manoeuvre became more complex. But more importantly, filmmakers continually aimed to innovate and find new ways to choreograph fight scenes. The prequel series, The Continental, focused on the intricate politics of the narrative’s criminal underworld. Now, the spin-off, From the World of John Wick: Ballerina, revisits a character only seen briefly before as it explores the world from which John was born.
Eve Macarro (Ana de Armas) experienced tragedy early in her life. Orphaned, she’s taken to “The Director” (Anjelica Huston) and offered the opportunity to earn a position within the Ruska Roma. For the next decade, her time is divided between studying ballet and learning to be an elite assassin. Completing her first mission, Eve becomes a fully pledged member of the family. But when she finds a lead on her parents’ murderers, she betrays her tribe to chase the revenge that’s driven her all these years. The cult of cutthroat killers prove to be formidable opponents, but they also hold the secrets of Eve’s past that no one else is willing to share.
This film is squarely set during John Wick 3: Parabellum, as an excommunicated John returns to the Tarkovsky Theater to ask for The Director’s help shortly before Eve earns her family crest tattoo. The first act focuses on Eve’s training. She pushes herself in both disciplines, determined to be the best ballerina and assassin. For better or worse, most of Eve’s talents are in the latter. Nonetheless, she tortures herself to perfect her pirouettes, proving her dedication with blood, sweat and tears. On the combat side, she must uncover her strengths and learn to adopt a fighting style that suits her smaller stature — a style that also encourages her to use anything at her disposal as a weapon.
The instruction that occurs in the lower levels of the theatre provide a glimpse into John’s former life and show how he became the adept killer with which fans fell in love. But while it builds on John’s legend, it doesn’t do much to endear audiences to Eve.
Her back story and the core emotional elements of her narrative remain inaccessible. Even when she learns a little more about her origins, it creates more questions than answers and doesn’t resolve the ultimate issue of giving audiences a reason to care for her. Introducing another father (Norman Reedus) in a similar situation as Eve’s only reminds audiences how little they know of her parents’ seemingly remarkable story. A rampage fuelled by revenge needs an affecting source and not just a vague understanding of a wrong that was committed.
Nonetheless, the action lives up to the franchise’s high standards as it remains the standout element of the picture. The fight sequences are fast-paced and take place in a variety of locations. Eve uses anything within reach — from axes to frying pans — to try to immobilize or kill her opponents, frequently taking on multiple assailants at once. When she gets knocked down, she’s quick to get back up and resume ducking, dodging and delivering her own blows. Yet, the most impressive and memorable scene is a literal fire fight that involves two flamethrowers.
The film delivers all the high-quality, shiny fight sequences fans expect from the franchise — but it forgets to make sure audiences care about its lethal protagonist, so they engage with more than just the cool choreography.
Director: Len Wiseman
Starring: Ana de Armas, Anjelica Huston and Gabriel Byrne
