2020-2029, Film Review

From the World of John Wick: Ballerina (2025)

Posted on June 9, 2025July 14, 2025 by Martin: Through the Silver Screen

**© Lionsgate, Summit Entertainment, Thunder Road Films and 87Eleven Entertainment**

From the World of John Wick: Ballerina – Film Review

Cast: Ana de Armas, Anjelica Huston, Gabriel Byrne, Lance Reddick, Norman Reedus, Ian McShane, Keanu Reeves

Director: Len Wiseman

Synopsis: After being trained in the traditions of the Ruska Roma organisation, an assassin sets out on a quest for revenge after her father was murdered…

Review: It is incredible to think that a film about a man who embarks on a violent and personal mission to exact revenge on the goons who killed a puppy, a gift from his beloved late wife, could spawn such an enthralling and gritty action franchise. Taking a close look at the murky criminal underworld and a network of assassins with hotels all around the world for these assassins to rest in between jobs, all while allowing its titular hero to find endlessly creative ways to eliminate those who wronged him. Yet, after four films that have shot and stabbed their way to a billion dollars at the worldwide box office, and a spin-off TV show about the New York Continental. However, the time has come for the passing of the torch and for a new central figure to pirouette her way to take the limelight, that the Baba Yaga has carried so successfully.

Set between the events of John Wick: Chapter 3 Parabellum and Chapter 4, Eve Macarro (de Armas) is a ballerina turned assassin who has been training in the traditions of the Ruska Roma for over a decade after her father was murdered when she was a young girl. After a decade of gruelling training, Eve graduates from the programme and is sent out on missions by the Ruska Roma’s uncompromising and strict director (Huston). Yet, the whole time, the thought of getting back at those who were responsible for her father’s murder is never far from her mind. When she comes across a clue that could lead her to them, she defies the director’s orders and sets off on her quest for revenge, and no one is going to stand in her way from getting to the bottom of who killed her father.

Anyone who saw 2021’s No Time to Die will know that when de Armas’s CIA agent Paloma meets Bond to infiltrate a meeting of the nefarious SPECTRE and fend off their goons, it delivered one of the film’s most exhilarating sequences. Despite a scandalously brief amount of screentime, she certainly left her mark on the franchise, and probably several of those SPECTRE goons, when she kicked their arses. Opportunities arose for her to develop that impressive turn alongside 007, but they never quite materialised. Thankfully, this is the one that doesn’t waste her talent and, much like Mr Wick, allows her to showcase her incredible action skills and get inventive in how she takes down her enemies. Flamethrower? Check. Grenades? Check. Ice skate blade? Check. Hell hath no fury like a woman on a deeply personal mission of revenge, and de Armas commits to the physicality of the role and does the majority of her own stunts in tremendous style.

The Wick universe is synonymous with slickly directed and stylish action scenes, where bad guys are dispatched in a violent and brutal fashion. Even with some reported reshoots helmed by franchise veteran Chad Stahelski, Len Wiseman brings an experienced hand to them. Yet for a female-led spin-off, it is a massive missed opportunity to not have a woman assume the responsibility of director. Shay Hatten’s script is surface-level at best when it comes to providing Eve with a sufficient amount of depth beyond her mission. You want to root for her, given the personal nature of her quest for revenge. Despite slotting in seamlessly as a spin-off to the underworld established by the first four John Wick films, the script does her a disservice, as she is explicitly told to “fight like a girl” by Ruska Roma teacher Nogi (Duncan-Brewster).

In a world where numerous badass female assassins have gone toe-to-toe with their male counterparts, and especially given what we know de Armas is capable of as an action star, it’s counterproductive and works against establishing Eve as a force to be reckoned with in this universe. This is not something she explicitly needs to be told when preparing for her missions. Perhaps a female director would have enabled the action to stand proudly on its own two feet, but instead, it cannot escape the shadow of Keanu Reeves’ legendary hitman. Speaking of Mr Wick, his appearance here could have been nothing more than a gratuitous cameo for the sake of nothing more than fan service, but he does serve a purpose in Eve’s revenge mission against the Chancellor (Byrne). An antagonist for Eve to confront for the pain he’s caused her, but he could have been so much more and is ultimately given paper-thin depth and development and pales in comparison to the villains of the John Wick films.

Checking back in to this brutal world of legendary hitman and bloody revenge is always a welcome one, especially as it represents our final chance to bid farewell to the late Lance Reddick as the concierge Charon. However, despite de Armas’s best efforts to twirl, shoot, and stab her way through as many bad guys as she can, as entertaining as these moments are, they don’t quite reach the heights of the films that have come before it. Still, there is definitely room for further expansion, and hopefully Eve Macarro will get her chance in the future to establish herself as a force to be reckoned with in the same breath as the Baba Yaga.

Ballerina is at its most exhilarating when Ana de Armas is tearing through bad guys through any means at her disposal, but ultimately, the spin-off doesn’t quite hit the heights set by the previous entries in the franchise.

2020-2029, Film Review

No Time To Die (2021)

Posted on October 8, 2021October 8, 2021 by Martin: Through the Silver Screen

**© Metro-Goldwyn-Mayer and Eon Productions**

No Time To Die – Film Review

Cast: Daniel Craig, Rami Malek, Léa Seydoux, Lashana Lynch, Ana de Armas, Ben Whishaw, Naomie Harris, Jeffrey Wright, Christoph Waltz, Ralph Fiennes

Director: Cary Joji Fukunaga

Synopsis: After spending time living a peaceful, retired life, James Bond is brought back to the world of assassins and espionage when an old friend approaches him to request his help for a new mission…

Review: It has been a difficult journey for the 25th instalment of the James Bond franchise to make its way to the big screen. A planned November 2019 release date that never materialised due to creative differences, which led to initial director Danny Boyle to depart the project. The injury that star Daniel Craig suffered during its production. All of which were compounded by the multiple enforced delays to its planned release due to the COVID pandemic. It was beginning to feel like there was an unbreakable curse on this film, that would prevent it from ever seeing the light of a big cinema screen. For a film that was marketed as Daniel Craig’s final bow in this role, it has been an agonising wait for it to finally be unveiled to the public. Now at last, Craig’s Bond takes aim at his final mission, and it was worth the wait.

Following on from the events of Spectre, Bond and Madeleine (Seydoux) are living a peaceful, quiet life in picturesque Italy. However, it isn’t long before their romantic bubble is burst when some startling revelations about the past are uncovered, which threatens to tear their relationship apart. Determined to find some answers, Bond teams up with old ally Felix Leiter (Wright) who approaches Bond for his help with a mission that leads back to some familiar faces, whilst uncovering a deadly plot at the hands of the villainous Safin (Malek), that threatens to unleash global destruction.

For a time, it was very uncertain whether Craig would continue in the role due to some infamous comments that he once made when asked if he would return to the role. Right throughout his tenure, Craig has always thrown everything he’s got into the role, and it is fitting that his final turn as this iconic character is possibly his best performance. He’s a character who has been on quite the journey since we first met him back in Casino Royale. While he often exhibits the cold and stoic persona that would be demanded of a paid assassin, there is a substantial amount of emotion to his final portrayal of this character. Of the new cast members, the standout is easily Lashana Lynch’s Nomi, a new double 0 agent that Bond must work with on this mission. Ana de Armas as the CIA agent Paloma that Bond also teams up is also another delightful addition to this cast. Given that they worked together to wonderful effect in Knives Out, the chemistry between de Armas and Craig is perfect. Frustratingly, she’s given a scarce amount of screen time.

Following the tragic fate of Vesper Lynd, it would have seemed unlikely that any other woman would capture Bond’s heart. Yet, following on from her introduction in the previous film, Lea Seydoux’s Madeleine Swann proved otherwise, given it was her that prompted Bond’s decision to retire from the life of a double 0-agent. Her performance, and the relationship that she shares with Bond here very much represents the heart of the film. There’s been no shortage of memorable women in the history of this franchise, and when looking back at this era of the Bond franchise, it will be hard not to recognise her as one of the more noteworthy Bond ladies. While Craig and Seydoux are the heart and soul of the film, it would not be a Bond film without the supporting cast. The familiar faces of Naomie Harris’s Moneypenny, Ralph Fiennes as M, and especially Ben Whishaw’s Q are all once again excellent.

The Craig era has introduced us to some of the most iconic villains, from Le Chiffre and Silva in Casino and Skyfall respectively, Malek’s Safin is not quite as memorable as the aforementioned villains. Nevertheless, he is a calm, methodical antagonist who proves to be more than a match for 007. While he was not the first choice for the director’s gig, Cary Fukunaga proved to be the perfect director for the task of giving Craig’s Bond the send off that he deserved. Craig’s Bond era has set the benchmark for gripping opening action scenes. From the enthralling opening action scene, to every action scene that the film packs into is run time, there’s a grittiness and intensity that is consistent throughout all of the action that gets the adrenaline pumping, aided by an excellent score from the maestro that is Hans Zimmer.

At 2 hours and 43 minutes, this is the longest film in the franchise’s history. Fukunaga worked on the script alongside franchise regulars Neal Purvis and Robert Wade. As such, the film is filled with everything you have come to expect from a Bond film, as well as one of the best one-liners in this franchise’s history. One suspects that could be down to the script polishes that came courtesy of Phoebe Waller-Bridge. However, that run time does feel overly long as the film does suffer from pacing issues in a handful of places. The James Bond franchise is one that has endured over multiple decades and with five films across nearly 15 years in this role, Daniel Craig bows out of this franchise with a legacy that will live forever.

The expectations were enormous, and after an agonisingly long wait, Craig’s final bow has met those expectations in an enthralling and stylish manner. A fitting send off for one of the best actors to ever don Bond’s tuxedo.

2010-2019, Film Review, London Film Festival 2019

Knives Out (2019)

Posted on October 13, 2019October 21, 2019 by Martin: Through the Silver Screen

**Image is property of Lionsgate and Media Rights Capital**

Knives Out – Film Review

Cast: Daniel Craig, Chris Evans, Ana de Armas, Jamie Lee Curtis, Michael Shannon, Don Johnson, Toni Collette, Lakeith Stanfield, Katherine Langford, Jaeden Martell, Christopher Plummer

Director: Rian Johnson

Synopsis: After a family patriarch dies in mysterious circumstances, a highly renowned private investigator is hired to lead the police inquiry…

Review: After making one of the most polarising blockbusters of all time in The Last Jedi, Rian Johnson would have been forgiven for taking a break from film-making, given the fierce, at times toxic, reaction that his Star Wars film generated. Yet, Johnson was having none of that and has wasted no time getting back into the game. After conceiving the idea of a murder mystery following the release of Looper, he takes obvious inspiration from the likes of Agatha Christie to give his own unique take on the “Whodunnit” genre, with extremely enthralling results.

As with all entertainment that centres on a murder mystery, it pays to know as little as possible about any plot details before diving head first into the madness. Therefore, vagueness is the name of the game from this point onwards. As he celebrates his 85th birthday party with his family, a family patriarch dies. Sensing something suspicious about the circumstances of the death, an official investigation is opened. As the tagline reads: “Hell, any of them could have done it.” As such, with everyone who attended the party a suspect, the detectives must interview the family members, and use those “little grey cells” in a bid to piece together the clues and to try and crack the case.

**The most attractive group of suspects you’ll maybe ever see…**

With such a stacked, A-list, ensemble cast, to give everyone their moment to shine would be extremely difficult. However, with a sharp and brilliantly witty script, Johnson does exactly that, and it enables him to get excellent performances out of everyone. Every member of this family is given fascinating, fleshed out back stories, which enables the audience to try and establish their potential motivations. Though, like all great murder mysteries, the audience is kept on their toes. Though, to go into too much detail about who gives the best performances is running the risk of getting into spoiler territory. With that in mind, let’s just say that, apart from Daniel Craig’s brilliant turn as the lead detective channelling his inner Poirot (if Poirot ever became a gruff Southern sleuth), the characters who wind up being at the centre of this investigation, are the best of a truly outstanding bunch.

There’s some ingenious subtext to the story that could have been a massive turn-off. However, it’s written so cleverly into the plot that makes it relevant and extremely entertaining. With every line of dialogue, Johnson’s passion for the genre comes across effortlessly, and he proves that he is a master of his craft. There’s also the distinct possibility that with some of the lines that these characters spit venomously at each other, that it’s Johnson’s subtle way of firing back, following the vitriol that was aimed in his direction following his Star Wars venture. For a film that centres on a murder investigation, it seems absurd that there’d be so many hilarious moments throughout. They are plentiful and they never feel out of place as the jokes keep the plot moving along at such a thrilling, kinetic pace. It ensures that not a single moment of the film’s run-time is wasted.

Bolstered by some immaculate, very colourful production design, this was the perfect film for Johnson to “bounce back” from the endless mire of the The Last Jedi backlash. It proves, if it were somehow ever in doubt that, Johnson’s mastery of the craft remains intact, and that he’s at the very top of his game as a writer and a director. Furthermore, it’s evident from every frame, that the cast are having a blast with this script, and there’s a good chance that this feeling will be reciprocal for the audience. It will make them want to grab their deerstalker hat and magnifying glass, and strive to solve the riddle at the centre of this enthralling mystery.

A razor sharp, ingenious screenplay, backed by an impeccable ensemble cast ensures that Johnson’s modern update on the Whodunnit genre is an audacious, riveting spectacle.

2010-2019, Film Review

Blade Runner 2049 (2017)

Posted on October 9, 2017October 15, 2018 by Martin: Through the Silver Screen

**Image is property of Warner Bros. Pictures, Sony Pictures, Columbia Pictures and Scott Free Productions**

Blade Runner 2049 – Film Review

Cast: Ryan Gosling, Harrison Ford, Jared Leto, Robin Wright, Dave Bautista, Ana De Armas, Sylvia Hoeks

Director: Denis Villeneuve

Synopsis: Set thirty years after the original Blade Runner, after uncovering a decades old secret, Blade Runner Officer K (Gosling) goes on the hunt for information, and his investigation leads him to a very familiar face…

Review: In terms of a challenging project for a director to get their hands on, being tasked with making a sequel to one of the most beloved science fiction films of all time, is surely right up there with the hardest. Having garnered quite the cult following, in spite of decidedly mixed critical reactions upon release, Ridley Scott’s 1982 sci-fi classic has built a legacy that has endured.

So in a time when Hollywood certainly likes making a sequel or two, one was perhaps almost inevitable. Though a sequel was for a long time in development, with Scott considering the possibility of directing, those plans were shelved. As such, the chance and indeed the enormous pressure of making this fell to Denis Villeneuve, and well simply put, it’s a challenge that he rose to in magnificent style delivering a superb blockbuster that combines tremendous style with emotional substance.

**I see your true colours shining through…**

Right from the off, Villeneuve, re-teaming with the great Roger Deakins following Prisoners and Sicario, they beautifully recreate that futuristic and visually mesmerising world that was so elegantly brought to life, but once more with those murky undertones. With superb production design this time being provided by Dennis Gassner, it’s all just a stunning visual treat to watch. Having shown his ability to dabble in mind-bending science fiction with his astonishing masterpiece Arrival, Villeneuve has once again shown he’s a formidable force to be reckoned with behind the camera. Oscar nominations are surely bound to follow, and hopefully this time, this will be the time that Deakins takes the statue, one can hope. But Oscar or not, Deakins has added another visual masterpiece to his glowing portfolio.

The great risk of making a sequel to something so beloved is that if you fail to live up to those lofty expectations, it could taint the original for some. However, the story crafted by original Blade Runner scribe Hampton Fancher along with Michael Green, delivers a deeply personal story that expands the world that was so elegantly brought to life in the original film. At the centre of the new story is Officer K who works as a Blade Runner, and stumbles upon a secret that opens up a can of worms. Much like its predecessor, the film is a slow burn in terms of pacing, it is not all out guns blazing action. Instead the film takes time with its story, which works to its advantage, whilst delivering those moments of intense action when it really needs to.

In a world where humanity and replicant are deeply intertwined, the lines between the two are almost non existent, and no one exemplifies this better than K. Gosling’s performance shows him in his much grittier, more melancholic mood in the same a similar manner to his performance in Drive. Charisma to boot (as well as a cool coat) he makes for a very compelling protagonist. For Harrison Ford meanwhile, after having made a triumphant return as Han Solo, he’s on masterful form once again as Deckard.

Ford is not here to just collect a pay cheque, as he delivers a performance that really packs the emotional punch making Deckard a relevant piece in this dystopian world of futuristic Los Angeles. Other new figures also include Jared Leto’s Niander Wallace and his associate Luv (Sylvia Hoeks). Leto might have copped a lot of flak following the much maligned Suicide Squad, but he is effective as the eccentric leader of a global corporation. Meanwhile, Hoeks’s Luv certainly makes her presence known.

The expectations were enormous. And with the pressure to deliver something to stand shoulder to shoulder with a film that has help to significantly define this genre, was equally gargantuan. Yet Villeneuve once again shows his remarkable credentials by delivering a sequel that beautifully pays homage to its predecessor, whilst at the same time, making things feel almost new and fresh. There will have been those who said that the original was untouchable, but we have seen things you people wouldn’t believe, and it is truly something to savour.