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.
‘Ballerina’ understands the assignment when it comes to the fight scenes, but it forgets to humanize its protagonist.
Action movies and thrillers driven by revenge have been commonplace since the ‘70s. When someone with access to a gun or other weapons is wronged, it seems to be a recipe for enacting cold, hard, brutal vengeance against everyone responsible. But “every action has a consequence” and unflinching, ruthless violence is bound to eventually draw blood from a forbidden pool. Running only gets you so far and then confrontation, surrender or – if you’re lucky – negotiation become the only options. In John Wick 3: Parabellum, the title character opts for all-out war against anyone who tries to stand in his way.
Every action has a consequence. A greedy, impetuous young criminal learned that lesson the hard way in 2014 when he stole a man’s car and killed his puppy. The repercussions of that night would spread violence across the city, and result in the deaths of other assassins and two generations of Russian gangsters. As that film drew to a close, there was still one piece of unfinished business to attend to: the retrieval of his car. But John Wick: Chapter 2 reveals going back into retirement isn’t as easy as coming out of it.
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