BALLERINA

Ana de Armas brings beauty and bruises in equal measure and makes a strong case for her own franchise in “Ballerina.” Watching as she moves through this neon-drenched world of assassins is fun. And, even though the script doesn’t give her much to do, she fills in the gaps with sheer physicality and screen presence. There’s something refreshing about watching someone so different from Keanu Reeves and his stoic Wick, take center stage. While the “Wick” films have always had a cool, mechanical efficiency, de Armas brings something more unpredictable.

She plays Eve, an orphan taken in and trained by the Ruska Roma crime syndicate, where Anjelica Huston reprises her role as its imperious matriarch. When Eve begins tracking down the mysterious cult responsible for her family’s murder, the film shifts into high gear. Eventually, she finds herself facing impossible odds—an entire town seemingly united in trying to kill her. But Eve’s not the “Boogeyman.” She hasn’t reached icon level status yet. And the way she gets tossed around makes you worry for her more than you ever did for Wick, not just because she’s the lead, but because she’s clearly not invincible. So in that sense, the stakes feel higher.

Along the way, she meets a mix of new and familiar faces from the “Wick” universe making brief but welcome appearances, including Keanu himself. One of the most intriguing story threads involves her crossing paths with the indelible Norman Reedus, whose situation mirrors her past. Gabriel Byrne adds weight as the film’s villain, slipping easily into the franchise’s tradition of soft-spoken menace. And yes, John Wick’s calm, measured presence adds gravitas to the whole affair — a reminder that this universe was built on a very specific kind of violence, almost ritualistic in its style.

As expected, the visuals and choreography are dazzling. The fight scenes are brutal, balletic, and sometimes breathtaking. From a snowy dance club brawl that feels like “John Wick” meets “Black Swan” to a chaotic showdown in a Dutch-style restaurant using everything from plates to ice skates to a flamethrower, the ingenuity never lets up.

No, it’s not as strong as any of the “Wick” films — it feels more like the spin-off that it is, rather than a true chapter — but that’s fine. It’s stylish, well-executed, and gives Ana de Armas the spotlight she deserves. If this is just the beginning for her in this world, I’m in.