Ana de Armas Leads Fiery ‘Ballerina’ Spinoff—but Can She Escape John Wick’s Shadow?
Hollywood loves a good spin-off. And with Ballerina, the John Wick universe hands off its bloodstained baton to Ana de Armas. You’d think a ballet-trained assassin out for revenge would be enough to shake things up, right? Eh—not entirely. Ballerina tries to leap. Sometimes it stumbles.
From Pirouettes to Pistols
The story kicks off with a bang—or more precisely, a young girl watching her father get murdered by a shady cult. That girl? Eve Macarro. As a child, she’s pulled into a hidden world of ballet and brutality, trained at the now-familiar Ruska Roma. It’s a place where artists pirouette in toe shoes by day and assassinate targets at night.
Anjelica Huston returns as the iron-fisted Director. Ian McShane is back as Winston. But it’s Ana de Armas as grown-up Eve—leaning on quiet intensity and crisp physicality—that steals the spotlight, even when the script forgets to let her character breathe.
Timeline of the Story
Set between John Wick: Chapter 3 – Parabellum and Chapter 4, Ballerina gives fans new bits and pieces of the Wick lore. While it wants to splash some new paint on the canvas, the strokes feel overly familiar.
- Young Eve witnesses her father’s murder by the cult-like group led by the sinister Chancellor (Gabriel Byrne).
- Winston whisks her away to the Ruska Roma, where she’s raised covertly as both an artist and a killer.
- Years later, Eve recognizes the cult’s symbol during a mission and goes rogue—chasing revenge.
- This puts her on a collision course with danger, a morally grey hitman (Norman Reedus), and threats that stretch Wick’s already elastic universe.
- The climax? A mountain showdown loaded with fire, ice, and granite-hard grudges.
Official Statements and Standouts
“Ana de Armas is clearly the film’s MVP,” said a source close to the production. “With her understated calm and crisp physicality, she brings a compelling screen presence to Eve—even when the script forgets to give her character actual layers.”
This sums up the general vibe. Director Len Wiseman crafts fight scenes that are polished and sharp—just not always surprising. A 20-minute mid-film sequence builds suspense and shifts structure in interesting ways. You might even squint and think, wow, this is different. Then a Wick-style brawl kicks off and… well, you’ve seen it before.
Community and Fan Response
The fan base has been split down the middle. Some are thrilled to see the John Wick universe expand with a more emotionally-driven lead. Others feel it’s more of the same—just with a bun and eyeliner.
- “We’ve waited for a female-led story—and Ana delivers,” wrote one Reddit fan.
- “But I hoped she’d move differently. Why is she fighting just like John?” asked another reviewer.
- “The final track—Fight Like a Girl—is fire, but the movie doesn’t always earn that title,” tweeted a fan after a screening.
It seems people wanted a fresh take. What they got was a remix. Slick, stylish, occasionally thoughtful—but still a remix.
What Makes It Tick—and What Trips It Up
The Bright Spots
- Atmosphere: From neon-lit rooftops to shadowy safehouses, the visuals pop.
- Choreography: As expected, the action choreography sings—even if the tune is familiar.
- Ana de Armas: She’s grounded. She’s lethal. She’s here to stay.
- Female perspective: The film nods toward emotional complexity—though sometimes just that, a nod.
- Closing song: ‘Fight Like a Girl’ by Evanescence & K.Flay sticks the landing, musically at least.
The Missteps
- Shaky identity. The film seems unsure if it’s its own story or a prequel DLC for John Wick.
- Thin character arcs. Eve’s backstory promises depth, but rarely explores it fully.
- Recycled action sequences. Just a slightly new cast, same old gun-fu.
- Undercooked themes. Feminine violence—in theory. Few moments show it in action.
- Side characters feel like placeholders for spin-offs—not real people.
What’s Next for the Wick-Verse?
With Reeves aging, the John Wick world appears to be expanding via side doors. Ballerina is one. The Continental TV series another. There’s even buzz around a Norman Reedus solo story. Whether Ana returns as Eve depends on how Ballerina performs—critically and financially.
If she does return, the hope is that she’s allowed to fight more like herself. Less gun-fu cosplay, more emotional complexity. This world has room for quiet strength, doesn’t it? Maybe next time she’ll get to prove it—without having to outgun John.
Final Take
Ballerina isn’t bad. It’s just safe. The John Wick universe has always danced between elegance and chaos. With Ana de Armas leading the next number, there’s potential to rewrite the steps. But for now, the film still twirls a little too close to its origin story.
Will hardcore Wick fans enjoy it? Probably. Will new viewers get lost? Maybe. What’s clear is this: Ana de Armas can carry a franchise. Now someone just needs to give her a different song to dance to.
