Ballerina, released in theaters on June 6, 2025, is the long-anticipated spin-off set in the “John Wick” cinematic universe. Directed by Len Wiseman (Underworld) and written by Shay Hatten, the film stars Ana de Armas as Eve Macarro, a ballerina-turned-assassin seeking vengeance for her father’s death. With supporting turns from Keanu Reeves (as John Wick), Anjelica Huston, Gabriel Byrne, Norman Reedus, Ian McShane, and the late Lance Reddick, Ballerina slots between the events of John Wick: Chapter 3 – Parabellum and Chapter 4. The story follows Eve’s journey from the brutal training grounds of the Ruska Roma crime family to her violent vendetta against a sadistic cult leader. Combining ballet with brutal combat, Ballerina deepens the mythology of the franchise while carving a blood-slicked stage for its newest leading killer. It’s stylish, savage, and surprisingly soulful.
Genre:Action, Thriller
A Dance of Death: Stepping Into the World of Eve Macarro
When I walked into the theater for Ballerina, I hoped for two things: stylish action and a worthy addition to the John Wick universe. What I didn’t expect was how confidently this spin-off would pirouette into its own identity. Yes, this is a Wick-world film—with all the slick production design, absurd underworld lore, and exquisite violence that implies—but Ballerina is also its own creature. Anchored by a magnetic performance from Ana de Armas and punctuated by moments of inventive, anarchic brilliance, it’s a kinetic tale of revenge that works as both a standalone thrill ride and a rich expansion of the franchise.
The plot is straightforward but effective: Eve Macarro, orphaned as a child when her father is murdered by members of a mysterious death cult, is raised and trained by the Ruska Roma—the same brutal organization that once molded John Wick. Now a deadly assassin in pointe shoes, Eve uncovers evidence linking her latest target to the same killers who shattered her childhood. Her pursuit leads her from New York’s neon nightclubs to a snowy Austrian village, uncovering a network of corruption, child abduction, and unholy violence orchestrated by the sadistic Chancellor (Gabriel Byrne).
Ana de Armas: A Star Made for the Spotlight
Let’s start with the obvious: Ana de Armas absolutely owns this role. Her Eve is a fascinating mix of elegance and raw fury—a trained killer whose rage bubbles just beneath her tightly controlled façade. De Armas brings grit, grace, and surprising vulnerability to a character who could have easily felt like a stock avenging angel. Whether she’s performing a delicate ballet routine or bludgeoning enemies with ice skates and dinner plates, she commands attention in every frame.
In action, she’s utterly convincing. The choreography leans more toward scrappy improvisation than the methodical “gun-fu” of John Wick himself, and that suits Eve’s character perfectly. One minute she’s wielding a flamethrower, the next she’s fighting off attackers with a firehose or a shattered wine bottle. The creativity of these sequences—especially a grenade-filled assault in a remote alpine lodge—is both brutal and hilarious.
From Ballerina to Berserker: The Action Kicks Into Overdrive
If the first third of Ballerina feels a bit conventional, that’s because it is. The early scenes—with Eve training, mourning, and brooding—are heavy on backstory and a little light on surprise. But once the film hits its midpoint, it ignites. Len Wiseman, no stranger to sleek action from his Underworld days, finds his groove with set pieces that grow increasingly bonkers and beautiful.
The film’s second half is a cascade of one-upmanship in violence and creativity. A standout club scene sees Eve carving her way through waves of enemies while neon lights pulse to an industrial remix of Tchaikovsky. Another features a silent, snow-drenched duel that feels both intimate and epic. And yes, there’s a flamethrower fight. It’s exactly as ridiculous and glorious as it sounds.
Wiseman borrows heavily from the Wick visual language—tight choreography, long takes, lavish lighting—but Ballerina feels more unhinged. Less calculating. There’s something refreshing about watching a character who improvises, makes mistakes, and bleeds. Eve gets battered, bruised, and bloodied, but she keeps dancing.
Trailer Ballerina (From the World of John Wick: Ballerina)
A Familiar Underworld, Reimagined
Fans of the Wick universe will find plenty of connective tissue here. Ian McShane and Lance Reddick return as Winston and Charon, offering quiet gravitas and continuity. Anjelica Huston reprises her role as the Director, ruling the Ruska Roma with menace and melodrama. And of course, Keanu Reeves returns as John Wick himself.
Wick’s appearance isn’t a glorified cameo—it’s meaningful. His scenes with Eve bristle with tension and reluctant respect. Their fight (because yes, they fight) is one of the most exciting in the film, not just for its choreography, but for what it reveals: Wick isn’t here to steal the show. He’s here to pass the torch.
Gabriel Byrne’s Chancellor is a chilling, almost mythic antagonist. With his cold smile and cult-leader calm, he feels ripped from a nightmare. Norman Reedus also makes a welcome addition as Daniel Pine, a reluctant ally with a mysterious past and a daughter worth killing for. The mirroring between Daniel and Eve—both shaped by violence, both trying to protect the innocent—adds unexpected emotional depth.
World-Building, Lore, and Just a Bit of Nonsense
Like the other John Wick films, Ballerina delights in absurd world-building. There are cryptic tattoos, archaic rituals, secret currencies, and 1000-year-old vendettas. At times, the mythology teeters on the edge of parody—but that’s part of the charm. These films aren’t meant to be grounded. They’re mythological. Operatic. And Ballerina embraces that identity with zero hesitation.
Some plot elements don’t quite land. The “scarred wrist” cult identifiers feel like shorthand for a deeper mythology that never fully materializes. Eve’s backstory—though emotionally resonant—lacks the fresh punch of John Wick’s legendary dog motivation. And despite the film’s title, there’s surprisingly little ballet woven into the action. A flamethrower pas de deux wouldn’t have gone amiss.
Still, these are minor quibbles. The pacing is tight, the visuals are consistently striking, and the film manages to balance violence and vulnerability with impressive skill.
Conclusion: A Killer Spin-Off That Stands Tall on Its Own
Ballerina may take a little while to find its footing, but when it does, it soars. It’s a high-octane, blood-soaked, prop-fueled ballet of vengeance that feels right at home in the John Wick universe while forging its own identity. Ana de Armas proves she’s more than ready to lead a franchise, delivering a performance that’s equal parts ferocity and finesse. With inventive action, vivid world-building, and just enough emotional grounding to keep the stakes human, Ballerina is more than a worthy spin-off—it’s one of 2025’s most entertaining action films.
Final Rating: ★★★★☆ (4/5)