“Ballerina” Trailer Breakdown: Ana de Armas & Keanu Reeves Collide in John Wick’s Bloody Universe
“Ballerina”: Ana de Armas Dances with Death—and John Wick’s Ghosts
You know that moment in a trailer where the music drops, and your spine does a little shudder? The new Ballerina preview—set to Charli XCX’s “Von Dutch,” remixed into something Hitchcock might’ve used—is all spine-shivers. Ana de Armas, drenched in sweat and blood, stares down a hallway of goons. Her eyes aren’t just determined; they’re feral. And then—because this is the John Wick universe—she lights a flamethrower.
Let’s rewind. Lionsgate’s Ballerina (officially From the World of John Wick: Ballerina, because SEO never sleeps) isn’t just another spin-off. It’s a Slavic folklore revenge tale wrapped in bullet casings. De Armas plays Rooney, a Russian ballerina turned assassin, code-named Eve. Her mission? Hunt the killers who murdered her family. Her tools? A mysterious tattoo, a flamethrower, and a rage that could power Chernobyl.
But here’s the rub: The trailer opens not with guns, but with myth. A gravelly voice narrates the legend of the kikimora—a vengeful spirit punishing the corrupt. Cut to Eve, slamming a man’s head into a piano (keys clanging like a discordant sonata) before shooting a woman in the crotch. Subtlety? This isn’t that movie.
The Good, the Bad, and the Hunky-Dory
Remember the first Ballerina teaser? Eve and John Wick (Keanu Reeves, because who else?) sharing a wary nod, almost… friendly? This new trailer course-corrects—hard. Now, they’re adversaries. Or allies? The editing plays coy. One shot: Eve aims a gun at Wick’s temple. Next: They back-to-back battle nameless thugs. It’s thrilling, sure, but confusing. Why undercut the tension so soon?
Maybe it doesn’t matter. Director Len Wiseman (Underworld) has never been one for emotional nuance. His strength? Style as substance. Take Eve’s ballet studio fight: pirouettes interrupted by shotgun blasts, her pointe shoes crunching glass. It’s Black Swan meets The Raid, and damn if it doesn’t work.
A Universe Expanding—or Imploding?
The John Wick world thrives on rules: gold coins, Continental hotels, “excommunicado.” But Ballerina asks: What if we added… mythology? The kikimora thread risks feeling tacked-on, like a studio note. Yet de Armas sells it. Watch her in the nightclub scene: a single tear streaks through blood spatter as she reloads. It’s operatic, unhinged—exactly what this franchise needs.
And then there’s Keanu. Reeves’ Wick is quieter here, a ghost haunting his own saga. When he growls, “You’ll wish you stayed gone,” you believe him. But the real magic? Lance Reddick’s final turn as Charon, the Continental’s unflappable concierge. His presence—a calm amid carnage—anchors the chaos.
Release Calendar
| Event | Date |
|---|---|
| Theatrical Release | June 6, 2024 |
Ballerina isn’t subtle. It’s a grenade rolled into a ballet slipper. But in a franchise where a pencil can be a weapon, why not let mythology and flamethrowers tango? De Armas’ ferocity—and Wiseman’s flair for the grotesque—might just make this the most unhinged John Wick entry yet.
Just don’t expect a happy ending. After all, in the words of the kikimora: “Vengeance is a dance without survivors.”
Where does Ballerina fit in the John Wick timeline?
Nestled between Chapter 3 – Parabellum and Chapter 4, it explores Ana de Armas’ Eve hunting her family’s killers while crossing paths with Wick mid-exile.
Why the kikimora myth reference in John Wick – Ballerina?
The Slavic spirit embodies vengeance—mirroring Eve’s arc as a “protector” exacting brutal justice. Her flamethrower scene? Pure kikimora chaos.
Is this Lance Reddick’s final role as Charon?
Yes. The late actor reprises his Continental concierge role, adding bittersweet gravitas to the John Wick franchise.
How does Len Wiseman’s direction differ from Chad Stahelski’s?
Wiseman leans into gothic aesthetics (see: Underworld)—think moody myth meets balletic violence, whereas Stahelski prioritizes kinetic, Hong Kong-inspired choreography.
