From the World of John Wick: Ballerina

A spin-off that shoots blanks on story

Despite having been created as a stand-alone action B-movie, John Wick (2014) has spawned an unlikely franchise, with each sequel outperforming the last at the box office. Though the main storyline seemed to conclude with the fourth installment, Lionsgate hasn’t let that stop them, expanding the universe with the Peacock series The Continental (2023) and now the spin-off film From the World of John Wick: Ballerina (2025).

Ballerina is set between the third and fourth entries in the franchise and follows Eve (Ana de Armas), one of the trained assassins under The Director (Anjelica Huston). When one of her contracts reveals a clue about the mysterious organization that killed her father (David Castañeda), she breaks the rules of her order to pursue vengeance against his killer (Gabriel Byrne).

This marks the first feature film in 13 years from director Len Wiseman, who has worked intermittently in television since his critically panned efforts on Underworld (2003) and the Total Recall (2012) remake. Ballerina has been surrounded by swirling rumors, some reported by reputable outlets, claiming that the original cut was so poorly received that the film was nearly remade in its entirety by John Wick director Chad Stahelski. This alleged behind-the-scenes upheaval is reportedly the reason for the film’s one-year delay—it was originally slated to premiere last summer. Whether those stories are true is hard to gauge from the final cut.

Ballerina is a fairly by-the-numbers and forgettable entry in the John Wick universe. It delivers a variety of thrilling and well-executed action sequences, living up to the franchise’s reputation for inventive stunt choreography. The cinematography and tone of these scenes closely mirror Stahelski’s style—perhaps lending credence to the rumors about his involvement. But beyond the action, Ballerina offers little of substance.

While the film gestures at a revenge narrative, it’s so overwhelmed by action that it's easy to lose track of what the characters are fighting for, or why. Nearly every location hosts at least two separate fight scenes, which start to feel like filler, padding a thin plot rather than building tension or deepening stakes. That’s not to say the action isn’t exhilarating—one standout involves a flamethrower duel—but its relentless pace leaves little room for dialogue or character development. The original John Wick kept its story simple but emotionally resonant, anchoring the action with clear motivations. Ballerina doesn’t do the same narrative work, despite boasting an impressive cast.

Gabriel Byrne isn’t even given enough screen time to become a caricature, let alone a developed villain, while de Armas has so little dialogue—barely a page’s worth—that her stunt double likely gets more screen time. She brings what she can through sheer screen presence, but she’s given frustratingly little to work with. De Armas has shone in recent performances—from Knives Out (2019) to her standout moment in No Time to Die (2021)—and was arguably the only redeeming element of Blonde (2022). Yet she has yet to be given a film that fully showcases her range as a lead. Ballerina could have been that chance, but instead relegates her to a largely mute, physically demanding role that doesn’t allow her to command the screen in the way she clearly can.

The result is a film that, while delivering some entertaining set pieces, ultimately fails to justify its own existence in the John Wick universe. Whether due to behind-the-scenes chaos or simply weak storytelling, Ballerina lands as a passable but hollow action flick.

6.3/10