For It Is Man's Number: norman reedus

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Thursday, 24 July 2025

Ballerina (2025)

From the world of John Wick, that's what we were all sold on here. Okay, there's also the draw of Ana de Armas kicking ass while looking damn fine doing it, but this film definitely wants to please fans of Wick. Does it succeed?

After some scenes showing a girl called Eve having her childhood interrupted by the execution of her father, and then being given a home within the Ruska Roma organization, Ballerina starts to show the training and maturation of a skilled killer (De Armas). She wants revenge though, and that isn't allowed. The Director (Anjelica Huston) explains that the man who murdered her father is the head of a large group that they just tend to leave to their own devices. That doesn't satisfy Eve, however, and she soon embarks on a journey of vengeance that will only end in the death of The Chancellor (Gabriel Byrne) or her own demise. And her own demise might be facilitated by John Wick himself.

Apparently directed by Len Wiseman, but with extensive reshoots overseen by Chad Stahelski, Ballerina is a bit of a mess, but it's a hell of an entertaining one. The visual style and onscreen world-building keeps it nicely within the "Wick-verse", but writer Shay Hatten can't do enough to make anything feel truly consequential. A number of the action sequences feel shoehorned in because they needed to make the 124-minute runtime bearable (and even then, it's disappointing that one great moment isn't shown, the film making use of the aftermath for some humour and explanation of how skilled our lead now is).

The best thing that this film has going for it is De Armas, a star who still deserves a real blockbuster success built around her. She can handle the action, and also deals with the breadcrumbs of emotional baggage given to her character. Huston also does well, reprising her role from previous movies and being just as strict and severe as ever. Byrne is a decent villain, but really only powerful enough because of how many people he can mobilise and control to attack one enemy, and Ian McShane adds his usual suave greatness as the constant calm presence of Winston. Catalina Sandino Moreno is wasted, and don't even start me on the third act moment that is delivered without any care or impact, Norman Reedus also doesn't really register, and it's a sad truth to say that any time we get Keanu Reeves making a cameo just serves as a reminder of how much better the Wick movies are. Robert Maaser is an impressive henchman, particularly in the jaw-dropping moments that involve some powerful flamethrowers, and Ava McCarthy is convincingly vulnerable and sweet as Ella, a young girl who ends up in the clutches of the baddies, which gives an extra motivation to our deadly lead.

All of the action is staged well, and it's all enjoyable enough, but things only feel truly inspired in an extended third act that makes great use of an interesting setting and a whole swathe of enemy combatants to deliver the kind of unique and inventive fights that have been a hallmark of this franchise. It's also good to be invested in something that feels as if, either way, there will be a consequential resolution to everything.

I enjoyed Ballerina, despite how it may seem from what I have said here. While there are things I have misgivings about, there's a consistency in the gorgeous cinematography, the excellent score, and the choreography and composition all working to keep De Armas framed as the star that she is. I just wanted it to be a bit better, and maybe there will be a step up in quality if we ever get a sequel to this. I'll rewatch this in the meantime, but I'll only after I have rewatched the superior John Wick movies first.

7/10

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Friday, 9 August 2024

The Bikeriders (2024)

Based on a photo-book by Danny Lyon, The Bikeriders is the latest feature directed by Jeff Nichols, and it was a film that I was tentatively looking forward to seeing for months. I tend to like the films of Nichols, and I have enjoyed the acting work of stars Jodie Comer, Tom Hardy, and Austin Butler, to varying degrees. With the likes of Mike Faist, Michael Shannon, Boyd Holbrook, and Norman Reedus in the supporting cast, I felt quite confident that there would be enough here for me to enjoy.

That confidence was a bit misplaced.

There's a storyline here, but it's a very slim one. Comer plays Kathy, a woman telling her story to Lyon (played in the film by Faist). She explains how she ended up meeting Benny (Butler), and how she often felt that he was torn between herself and the leader of a motorcycle club (Johnny, played by Hardy). The club goes through a number of changes, the world starts to change even faster around them, and the people do their best to pretty much stay the same. And that's it.

A lot of men are stuck in various stages of arrested development. I get that. I AM that. Hey, I like to act mature and wise sometimes, but you have no idea how often I have clicked on the adverts for some awesome LEGO sets and wistfully sighed as I eventually backed away from them. I'm a middle-aged man who can be very childish. I don't want anyone to make a movie about me though, and I would expect that movie, if made, would show me up for the occasional idiot I am. A lot of people also need to be part of something bigger than themselves, which doesn't always align with a position that society thinks you should have. I also get that. I am happy, via the upside of the internet and social media, to be connected to many film fans and collectors worldwide. Again, however, I'm not sure any film showing that would make me look anything other than a bit silly and super-geeky (not that I would be bothered, I have fully embraced my geekiness for a good 10+ years now).

The Bikeriders has cool people being very uncool. The men shown act more like children a lot of the time, and they are all connected by their love of motorbikes, and a subsequent loyalty to one another that stems from the bike-riding outings. There's a way to make that story, but Nichols doesn't find the right approach.

Both Hardy and Butler do fine with what they're given, and neither feel as if they are being stretched, but it's Comer who ends up being the highlight, mainly due to her character being able to see both the allure and the major downsides of the lifestyle being recorded by Lyon. Shannon is as great as ever, and both Holbrook and Reedus do enough with their limited screentime to make a surprising impact, considering the stars overshadowing them.

Everyone looks the part, the period feels nicely recreated, there are some treats on the soundtrack, and the pacing is just right, thanks to the various main incidents plotted out on the way to a fairly inevitable conclusion. Sadly, none of this can overcome the inherent problems in the material, especially without the best way to take viewers into the onscreen world. Considering how many others seemed to really like this though, maybe the "problem" lies more with me than the film.

5/10