Ana de Armas is an unlikely choice to headline Ballerina, given her career to date has been filled with character-driven roles from Knives Out through to Blonde. Granted, she did segue neatly into an extended cameo during No Time to Die, but even that was grounded in character with flashes of action. The John Wick franchise has not traditionally lent in that direction, aside from an audacious opener, that saw Keanu Reeves crack heads over a slaughtered pooch. In the original John Wick, writer Derek Kolstad and director Chad Stahelski created a stone-cold killer with touches of humanity driven by retribution. A formula that has now been stretched over three more films with Ballerina being another addition to this ever-expanding franchise.
What will surprise many audiences is just how seamlessly Eve fits into this framework, helping to unpack a film which might not have many surprises, but will appease fans, nonetheless. Following a concise introduction that lays down the foundations for everything that follows, director Len Wiseman sets about expanding this world. Anjelica Huston returns and adds a sinister undercurrent as the director, while Gabriel Byrne proves a wily adversary in this glorified spin-off to the franchise. Vengeance remains the driving force behind Ballerina, and Eve is equipped to dish out punishment using anything that comes to hand.
Image Courtesy of Lionsgate
Ana de Armas paints this trained assassin as someone with consideration behind the conflict, displaying a degree of maternal instinct in the choices she is forced to make. For people unfamiliar with John Wick, it might be best to watch one through three before venturing into Ballerina. These writers might have been considerate enough to include some connective tissue between them and this latest entry, but having some knowledge of the world going in will help. Performances from principal players including the late great Lance Reddick are flawless, even if Keanu Reeves could now play this character in his sleep.
The action chops of director Len Wiseman also gives Ballerina an edge as there is a level of invention that lifts this instalment to new heights. As much as audiences might be there to catch a glimpse of John Wick, it is surprising to say that his absence feels almost welcome. It illustrates the point that the universe he exists in is more interesting than his existence in it. This universe has now taken on the distinguishing marks of a fully formed franchise, populated with countless characters who are infinitely more interesting.
Eve is just one of many assassins who might be hiding in the shadows with scores to settle and grudges to avenge. The fact that this rich tapestry has been explored with such reserve in Ballerina, only hints at what may yet be in store for audiences. There is already talk of a John Wick 5 and other iterations to further enrich this world, yet the question remains of whether Ana de Armas has truly delivered the goods in Ballerina. On the strength of this effort, she has proven herself to be more than capable of carrying a film on those slender shoulders and carving out an identity in John Wick that may yet give her legs beyond this impressive debut.
From the World of John Wick: Ballerina is out in selected cinemas now.