---
title: "Ballerina"
year: 2025
kind: "film"
canonical: "https://film.one/film/ballerina"
fi1m_id: "ballerina"
imdb_id: "tt7181546"
tmdb_id: 541671
wikidata_id: "Q84713105"
fi1m_score: 58
critics_score: 59
critics_reviews: 25
published: "2026-09-09"
updated: "2026-09-18T08:37:50.851944+00:00"
region: "EC"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Ballerina (2025)

Directed by Len Wiseman · 2h 05m · Action, Thriller, Crime

## Identity

Ballerina

- **Canonical:** https://film.one/film/ballerina
- **Type:** Film
- **Fi1m ID:** ballerina
- **IMDb ID:** tt7181546
- **TMDB ID:** 541671
- **Wikidata ID:** Q84713105
- **Same entity:** https://www.imdb.com/title/tt7181546/, https://www.themoviedb.org/movie/541671, https://www.wikidata.org/wiki/Q84713105

**Fi1m score: 58** · Critics 59 from 25 reviews

*In a sentence:* Nobody dances, everybody bleeds, and the flamethrowers arrive just as we were losing hope

> Ana de Armas earns the franchise and Len Wiseman’s film spends its first hour explaining why. Once the talking stops and the flamethrowers come out, it is the fun it should have been all along; getting there is a slog.

## Synopsis

Eve is a child when men with a mark on the wrist come for her father. Winston (Ian McShane), manager of the New York Continental, collects her and delivers her to the Director (Anjelica Huston) of the Ruska Roma, who trains girls to dance and, in the same building, to kill. Years later Eve (Ana de Armas) has finished her training and started work when a job puts that mark back in front of her. She goes after the cult behind it, led by the Chancellor (Gabriel Byrne), against the Director’s orders and the rules of the world John Wick (Keanu Reeves) lives in. Norman Reedus, Catalina Sandino Moreno and Lance Reddick appear.

## Review

Eve (Ana de Armas) is a child when her father is killed, and Winston (Ian McShane) delivers her to the Ruska Roma, where the Director (Anjelica Huston) runs a ballet school that also turns out assassins. Years later, trained and working, she goes after the people who did it. That is the whole plot of *Ballerina*, and it is the right plot for this series, which has always run on one grievance and a great deal of movement. Len Wiseman’s spin-off takes an hour to get moving. When it does, it is close to the film we wanted.

The first act is the problem. Shay Hatten’s script explains the Ruska Roma, then the Continental, then the cult and its rules, and then explains them again in case a newcomer has wandered in. The editors, Jason Ballantine and Nicholas Lundgren, hurry the training years past in montage and cut the early fights close and short, arms and faces rather than bodies in a room, so that we could not see what the stunt team had built. Keanu Reeves arrives, says a few slow words, and the film stops to look at him as though a head of state had walked in. It does this more than once. We were bored for forty minutes, and then cross about it, because the film we had come for was plainly in the building.

De Armas is the reason to stay. She is smaller than every man she fights and the choreography is built around that: she goes low, uses whatever is within reach, gets thrown through furniture and gets up. Between blows she has a stillness that reads as thought rather than pose, and she does not ask to be liked. The film keeps telling us she is a dancer and gives her almost no dancing to do. What she has instead is a way of crossing a room as if she had already decided where everyone in it would fall, and it is enough.

The second half is a different film. Eve reaches a snow-covered mountain village where every shopkeeper and grandmother is armed, and the set pieces come one after another with proper room to breathe. The one everyone will talk about is a duel fought with flamethrowers in a snowy street, the snow steaming where the fire lands. We laughed out loud at the cheek of it and then found we were gripping the armrest. Romain Lacourbas lights the village blue-black and lets the fire do the rest; one wide shot of Eve small against a wall of flame is the image we would keep. For twenty minutes we forgot the first hour entirely.

The rest of the craft is solid without being memorable. Philip Ivey’s Ruska Roma theatre is all gilt, dark wood and rehearsal-room mirrors, and his village looks like a brochure until the shutters open. Tina Kalivas puts the cult in shearling and heavy wool and Eve in black, and gives Huston collars severe enough to be a warning. Tyler Bates and Joel J. Richard supply the low electronic pulse the series has always had, and it does its job without once surprising us. Gabriel Byrne’s Chancellor is soft-voiced and barely there; this series has never troubled itself much with villains, but this one seems to want only a quiet life. Norman Reedus has a short, good turn as a man who has done the arithmetic on his own survival, and Lance Reddick’s Charon has a scene at the Continental desk that we were glad of.

Set against Chad Stahelski’s *John Wick* (2014), which held its shots wide and long so every hit could be counted, this looks cramped in its first half and only catches up in its second. Wiseman made *Underworld* (2003), and the blue-black night suits him; the patience with a wide shot does not come as naturally. The idea underneath, that dance and killing are the same discipline, is said several times and shown never. Stahelski is credited as a producer, and you can feel him in the last hour.

It runs 125 minutes and carries a 15. The second hour deserves company and the biggest screen you can find. The first deserves a cup of tea made slowly, with the kitchen door open so you can hear when the flamethrowers start.

*Fi1m score 58, published 9 September 2026.*

## What the critics say

The reviews split almost evenly between approval and reservation, and the consensus is that Ballerina is a serviceable John Wick spin-off rather than a necessary one. Where critics agree is on Ana de Armas: most find her physically committed and likeable, improvising weapons with conviction and carrying a story few of them care about. The action draws the warmest praise, above all a flamethrower duel and the snowbound sequences late on, which several reviews say lift the film after a slow start.

The reservations cluster on the script. Most critics call the plot thin and the first act clogged with exposition, and a few detect the marks of reshoots in the uneven early direction. The spread is wide. The Telegraph dismisses it outright as shoddy and tedious, The Observer finds it joyless, and Den of Geek is alone in thinking de Armas miscast, while Deadline argues her set pieces surpass earlier entries.

## Straight answers

**Is Ballerina worth watching?**

*Ballerina* is worth watching only if you can sit through a slow, over-explained first hour to reach a second half of well-staged action, and we scored it 58. Ana de Armas is the reason to stay, and the flamethrower duel in a snowy village is worth the wait. Newcomers to the series will find the wait longer than fans.

**How long is Ballerina, and what is it rated?**

*Ballerina* runs 2h 05m. It is an action and thriller film.

**Where can I watch Ballerina in Ecuador?**

*Ballerina* is not on any streaming or rental service in Ecuador at the moment. It is available in 38 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is Ballerina, and is it suitable for children?**

*Ballerina* carries a 15 in the UK and an R in the US, and it is not for children. The violence is constant and hard-hitting, with bodies thrown through furniture, close-quarters killings and a duel fought with flamethrowers. It is not frightening in the horror sense, but the squeamish will find little to enjoy.

**How does Ballerina compare to John Wick?**

*Ballerina* is the weaker film beside [*John Wick*](https://film.one/film/john-wick), which held its shots wide and long so every hit could be counted, where the spin-off cuts its early fights close and short and spends an hour on explanation. Its second half does catch up, and Ana de Armas brings a stillness of her own. Anyone new to the series should start with the original.

**What should I watch after Ballerina?**

After *Ballerina*, try [*John Wick*](https://film.one/film/john-wick) (2014, Fi1m 80): The template, done once with wide shots, long takes and a dog. Then [*The Villainess*](https://film.one/film/the-villainess) (2017, Fi1m 68): A Korean assassin raised from childhood, filmed with a camera that will not stand still; and [*Nikita*](https://film.one/film/nikita) (1990, Fi1m 76): Besson’s original girl-made-into-weapon, with more ache and far fewer bullets.

### Reviews we read (28)

- **Empire**, Amon Warmann (80/100, inferred): The critic praises the film as a Wick-edly entertaining addition to the franchise, highlighting the variety and visceral quality of the action sequences and Ana de Armas's stunt work. They note the story is slight but appreciate the themes and fun approach by director Len Wiseman. [Read](https://www.empireonline.com/movies/reviews/ballerina/)
- **Radio Times**, Alan Jones (4/5): The critic calls the spin-off propulsively flamboyant and satisfying, praising de Armas's high-intensity action work and inventive set pieces. It brings freshness to the John Wick template as a slick summer treat. [Read](https://www.radiotimes.com/app/ballerina-from-the-world-of-john-wick-review-ana-de-armas-leads-a-propulsively-flamboyant-spin-off/)
- **The AV Club**, Jesse Hassenger (B): The action sequences are satisfying and well-crafted, with de Armas improvising weapons effectively; it's a winning spin-off though the backstory is pedestrian compared to the original. [Read](https://www.avclub.com/ballerina-review)
- **The i Paper**, Francesca Steele (75/100, inferred): The critic calls it brilliant fun and a propulsive gun-fu joy that delivers on stunts and absurd world-building. They single out the imaginative action set pieces for praise while noting the thin plot and lack of actual ballet elements. [Read](https://inews.co.uk/culture/film/john-wick-ballerina-review-3728223)
- **Variety**, Owen Gleiberman (75/100, inferred): Ballerina is a worthy, pulpy, ultraviolent, and entertaining spin-off in the John Wick canon, with Ana de Armas gamely taking up the mantle of mayhem in a revenge plot that is pure trash. The critic singles out de Armas’s calm, Zen-like presence and the film’s inventive weapon-based action (including a flamethrower duel) as highlights. [Read](https://variety.com/2025/film/reviews/ballerina-review-ana-de-armas-john-wick-1236416050/)
- **IndieWire**, David Ehrlich (B-): It suggests the franchise can survive without Keanu Reeves but hasn't built up the courage to try something new; it's a serviceable addition with all the expected elements on display. [Read](https://indiewire.com/criticism/movies/ballerina-review-ana-de-armas-john-wick-keanu-reeves-1235129385)
- **Los Angeles Times**, Sergio Burstein (70/100, inferred): The John Wick spinoff delivers what it promises with spectacular fight scenes and an enchanting lead performance, resulting in unquestionably entertaining fare despite a weak script and unconvincing story. The critic singles out Ana de Armas’s physical commitment and the chaotic, distinctive fight style tailored to her character for praise. [Read](https://www.latimes.com/espanol/entretenimiento/articulo/2025-06-05/criticas-ana-toma-las-armas-al-pacino-combate-al-demonio-y-mas-estrenos-de-cine)
- **Vulture** (70/100, inferred): The second half's thrilling action sequences make a strong case for the film's verve and humor, though the first half is uneven and the overall result feels like overstretched IP. [Read](https://www.vulture.com/article/ballerinas-john-wick-ana-de-armas.html)
- **Slant Magazine** (2.5/4): It delivers some memorable action tricks like a flamethrower duel but lacks its own mythology, feeling like just another entry in the 87Eleven style with obligatory noise between set pieces. [Read](https://www.slantmagazine.com/film/ballerina-review-ana-de-armas-keanu-reeves-len-wiseman/)
- **RogerEbert.com**, Brian Tallerico (60/100, inferred): Ballerina is a halfway decent action movie that struggles in the shadow of the superior John Wick films but delivers unpretentious fun in its extended final action sequence. The critic singles out the improved choreography and stunt work in the later snow-covered and village-set sequences for praise while criticizing the early editing and mediocre fight scenes. [Read](https://www.rogerebert.com/reviews/john-wick-ballerina-movie-review-2025)
- **The Guardian** (60/100, inferred): The critic notes that the film conflates ballet and violence in a deliberate but unconvincing way and praises Ana de Armas for carrying the silliness and handling the action choreography effectively. [Read](https://www.theguardian.com/film/2025/jun/04/ballerina-review-ana-de-armas-racks-up-the-kills-as-she-pirouettes-into-john-wick-spin-off)
- **Time Out**, Helen O’Hara (3/5): The critic praises the inventive action sequences and Ana de Armas's charismatic, likeable performance as an assassin hero. The standard revenge plot is noted but the film delivers enough to stand alongside its predecessors. [Read](https://www.timeout.com/movies/ballerina-review-2025)
- **Screen Daily** (50/100, inferred): The critic highlights Ana de Armas's ferocious, muscular performance as nearly overcoming the film's weaknesses. Spectacularly violent set pieces are savoured, but a bland villain and underwhelming narrative prove limiting. [Read](https://www.screendaily.com/reviews/ballerina-review-ana-de-armas-shoots-to-kill-in-underwhelming-john-wick-spinoff/5205723.article)
- **The New Yorker**, Richard Brody (50/100, inferred): Ballerina extends the John Wick mythology but thins it out into an unthrilling action film that prioritizes story and character confirmation over spectacular action. The critic singles out one wide shot of the protagonist silhouetted against fire for its cinematic identity while noting the functional but uninspired fight sequences overall. [Read](https://www.newyorker.com/culture/the-front-row/ballerina-leaps-into-john-wicks-bloody-world)
- **Sight and Sound** (30/100, inferred): The critic finds the film bloody but bloodless, with lacklustre action, heavy-handed storytelling and underwhelming performances overall. Inventive bits of carnage stand out amid the blitheness of the violence and obligation-driven vibe. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/ballerina-lifeless-john-wick-spin)
- **The Observer**, Wendy Ide (30/100, inferred): The film is a lukewarm, joyless addition to the John Wick series with no sense of humour despite its violent set pieces; Keanu Reeves is underused and the direction lacks flair. [Read](https://observer.co.uk/culture/film/article/film-of-the-week-ballerina-is-on-pointe-blank)
- **The Telegraph** (10/100, inferred): The spin-off is an absolute stinker: shoddy, nasty, tedious and lacking any of the flair of the original series, with poor photography, stunts and dialogue. [Read](https://www.telegraph.co.uk/films/0/from-the-world-of-john-wick-ballerina-review-keanu-reeves/)
- **The Hollywood Reporter**, David Rooney: The critic praises Ana de Armas's magnetic presence and the film's muscular direction and unrelenting pace, calling it mindless summer action entertainment with a lot of style. The story sticks closely to the John Wick template without reinvention. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/from-the-world-of-john-wick-ballerina-review-ana-de-armas-1236255035/)
- **Collider**, Ross Bonaime (7/10): The critic praises Ana de Armas as a worthy successor and the over-the-top action once it gets going, but notes a shaky start with too much exposition and uneven direction due to reshoots. [Read](https://collider.com/ballerina-review-john-wick-ana-de-armas/)
- **The Ringer**, Miles Surrey (70/100, inferred): The critic finds it a worthy spinoff that delivers on action, especially the flamethrower scene, though not quite at the level of mainline films, with a threadbare plot. [Read](https://www.theringer.com/2025/06/06/movies/john-wick-movies-ballerina-review-ana-de-armas-keanu-reeves)
- **Digital Spy**, Ian Sandwell (3/5): The critic praises the near-constant action and set pieces as worthy of the John Wick series but complains that the film has too much action and too much focus on John Wick, which detracts from Eve's story. [Read](https://www.digitalspy.com/movies/a64943255/ballerina-review-john-wick/)
- **HeyUGuys**, Linda Marric (3/5): Ballerina is an interesting experiment that dares to be different but falls short of the excellence of its predecessors. Ana de Armas delivers a committed performance with impressive fight scenes. [Read](https://www.heyuguys.com/ballerina-review-2/)
- **NME**, James Mottram (3/5): The critic calls it a fun but forgettable John Wick spin-off, praising the inventive, bone-shattering fights and De Armas's athleticism but criticizing the difficulty in caring about Eve's journey and the lack of the main man's cool factor. [Read](https://www.nme.com/reviews/film-reviews/ballerina-review-ana-de-armas-john-wick-spin-off-3867576)
- **/Film**, Chris Evangelista (5/10): Some great inventive action scenes cannot save this dull John Wick spin-off. The action is a blast when it happens, but the exposition-heavy story and bland filmmaking drag it down. [Read](https://www.slashfilm.com/1877855/ballerina-john-wick-spin-off-movie-review/)
- **Den of Geek**, Don Kaye (2/5): The critic finds Ballerina a disappointing John Wick spinoff lacking heart, character, and conviction, with a miscast and bland Ana de Armas as the lead. They single out the overlong, unpleasant flamethrower fight sequence as an example of the film's excesses. [Read](https://www.denofgeek.com/movies/ballerina-review-ana-de-armas-john-wick/)
- **Film Stories**, Ryan Lambie (40/100, inferred): The story feels thin and the action repetitive and exhausting despite solid craft. Ana de Armas convincingly plays the unkillable assassin Eve. [Read](https://filmstories.co.uk/news/ballerina-review-is-this-john-wick-spin-off-en-pointe-or-tutu-much/)
- **Deadline**, Gregory Nussen: Ana de Armas elevates the John Wick spinoff with her beguiling presence and immaculate movement in inventive action set pieces that surpass prior entries. The film suffers from clunky, expository storytelling and a lack of narrative efficiency in the first act. [Read](https://deadline.com/2025/06/ballerina-review-ana-de-armas-spinoff-john-wick-1236423083/)
- **The Wrap**: After a terrible first act and signs of post-production meddling, the film explodes into glorious, inventive violence with a genuine sense of humor. The cluttered mess has a boring storyline but features amazing action, including an awesome flamethrower duel. [Read](https://thewrap.com/ana-de-armas-ballerina-john-wick-review)

## Details

- **Director:** Len Wiseman
- **Director:** Len Wiseman
- **Writer:** Shay Hatten
- **Cinematography:** Romain Lacourbas
- **Editor:** Jason Ballantine, Nicholas Lundgren
- **Music:** Tyler Bates, Joel J. Richard
- **Production design:** Philip Ivey
- **Costume design:** Tina Kalivas
- **Producer:** Basil Iwanyk, Erica Lee, Chad Stahelski
- **Cast:** Ana de Armas as Eve; Keanu Reeves as John Wick; Ian McShane as Winston; Anjelica Huston as The Director; Gabriel Byrne as The Chancellor; Catalina Sandino Moreno as Lena; Ava McCarthy as Ella; Juliet Doherty as Tatiana
- **Runtime:** 2h 05m
- **First release (the UK):** 22 May 2025
- **Genres:** Action, Thriller, Crime
- **Budget:** $90 million
- **Box office:** $137 million
- **Trailer:** https://www.youtube.com/watch?v=b9Rr9ygb-ac

## Where to watch in Ecuador

Not streaming, renting or buying in Ecuador at the last check.

Also available in: AR, AT, AU, BE, BR, CA, CH, CL, CO, DE, DK, EE, ES, FI, FR, GB, HK, ID, IE, IN, IT, KR, LT, MX, MY, NL, NO, NZ, PA, PH, PL, PT, SE, SG, TH, TR, US, ZA. Add `?region=XX` to this URL for another country.

## If you liked this

- *John Wick* (2014), Fi1m 80: The template, done once with wide shots, long takes and a dog. — [Fi1m page](https://film.one/film/john-wick.md)
- *The Villainess* (2017), Fi1m 68: A Korean assassin raised from childhood, filmed with a camera that will not stand still. — [Fi1m page](https://film.one/film/the-villainess.md)
- *Nikita* (1990), Fi1m 76: Besson’s original girl-made-into-weapon, with more ache and far fewer bullets. — [Fi1m page](https://film.one/film/nikita.md)
- *Haywire* (2011), Fi1m 74: Soderbergh lets a real fighter hit real actors and keeps the cuts to a minimum. — [Fi1m page](https://film.one/film/haywire.md)
- *Kill Bill: Vol. 1* (2003), Fi1m 72: Revenge as a list, worked through in a snowy garden with swords. — [Fi1m page](https://film.one/film/kill-bill-vol-1.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/ballerina