A trained assassin of the Ruska Roma organisation goes against The Director’s orders and seeks revenge against the people who killed her father.
A strong opening sequence that sets the bar high for something you have already seen. I’ve spoken before about the world of John Wick – https://vm.tiktok.com/ZNdf9KM1n/ (soon on the website). Neon lights, constant dark skies, diverse tribes of assassins, fancy deaths, sheepy people who keep dancing while everyone dies around them, nonexistent law, and so much more comprise that surrealistic and enigmatic world.
How this film was made is also an enigma. Ballerina’s script went through hell. Many writers added and subtracted content, making it impossible to determine who wrote what and when – yes, it took a few years. However, that’s nothing compared to what happened during filming and the extensive re-shoots it went through. If you want to read more about the creative differences between director Len Wiseman and producer Chad Stahelski (creator of this universe), visit the film’s IMDb Trivia section and weep. It brings to the fore the debates of auteur cinema. But let’s not go into it, shall we?
Production failures and disappointments aside, as a standalone, Ballerina will excite you nearly as much as the John Wick franchise. Ana de Armas does a brilliant job in front of the camera. Then, the addition of John Wick welcomes Ballerina and embraces her into the universe. The lengthy takes, slow editing, invisible effects, stunning soundtrack, and pseudorealistic fights will keep you entertained for two hours. And that’s the end of it. On to the next John Wick…
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