BALLERINA (2025) is “from the world of JOHN WICK.” That’s the tagline, not the title – like “Die Harder.” I have seen some spinoff skepticism swirling around this one, but don’t come to me for that shit. When the makers of JOHN WICK invite me into the world of JOHN WICK I don’t even have to grab my go-bag. I just run full speed toward them.
I have also seen grumbling about it being directed by Len Wiseman (UNDERWORLD) and about having had reshoots (seemingly quite extensive) overseen and/or directed by Chad Stahelski. But I think the former has pretty good action chops and the latter has honest-to-God action vision, so it is not surprising to me that BALLERINA has arrived as a total banger. Is it as good as the JOHN WICKs? No. Is it better than most movies that are not JOHN WICKs? Yes.
Here is my viewing journey with BALLERINA: first 15 or 20 minutes – It’s okay that this is kinda clunky compared to a JOHN WICK because it kinda rules anyway. Everything after that – on second thought this almost is as good as a JOHN WICK and in fact it absolutely rules. (read the rest of this shit…)
I’ve said it before, I’ll say it again, I’m saying it now: when it comes to balancing horror and comedy, AN AMERICAN WEREWOLF IN LONDON is the goal. I mean, there ones I love just as much that I consider a little heavier on the goofiness, like 
