Originally published to 8 News Now on June 4, 2025.

From unassuming action fare in 2014 to a full-blown cinematic universe, much has been made from the humble beginnings of the John Wick universe. The Keanu Reeves-led franchise has spawned comics, a television series, four movies, and now a spin-off film, “Ballerina.”

Ana de Armas is tasked with taking the helm of the “World of John Wick.” That world is increasingly showing its wear and tear. The first act of Ballerina serves as a plot-heavy introduction, establishing Macarro’s origin and showing her path to becoming the lethal assassin we expect from the protagonist of a John Wick story. However, the world of John Wick sans John Wick can be a colorless, humorless mess, at least for the first two-thirds of its runtime.

The franchise’s trademark action is here. The first two acts have enough of it, and de Armas pulls off the violence convincingly. However, the fighting lacks the edge and focus of the previous films. It’s not that it’s awful; it’s just slightly more blunt and plodding than the earlier offerings. In some ways, it’s symptomatic of the entire first two-thirds of the film: almost there, but not up to the standards set previously.

The same can be said for de Armas’s titular Ballerina, Eve Macarro. She serves her purpose in the franchise without providing much in the way of magnetism or intrigue. The regular characters from the Wick franchise surrounding her don’t significantly contribute to enhancing the story. The film presents its plot as high-stakes, but the execution lacks urgency. It ultimately lacks the charm and appeal found in the franchise’s other installments, particularly during the first two acts.

However, the film’s third act comes through, finally providing the character that was so severely lacking from the opening moments. The filmmakers seem to have saved the most compelling set pieces, the most intriguing action beats, and the most aura-packed character moments for the last minute. Indeed, it’s such a dynamite third act with a gratifying payoff that it does what a film’s conclusion can so rarely do: revive an entire movie.

As it stands, the best that can be said for the John Wick spin-off is that the first two acts are not so much of a slog that a viewer can’t sit through them to get to what turns out to be a fantastic ending. The filmmakers decided to save the best for last. Next time, it might be best to spread the best parts throughout the film to break the monotony that two-thirds of “Ballerina” presents.