Ana de Armas and Keanu Reeves, face to face

In Ballerina, Ana de Armas It's Eve Macarro, the ballet-minded assassin who appeared briefly at the beginning of John Wick 3: Parabellum. It is not the first time that the actress immerses herself in a strictly defined fictional universe: No time to die, the latest James Bond film, she played a CIA agent who performed lethal stunts in an elegant evening gown, a performance that surely greatly influenced her participation in the most influential action saga of the last decade. It is a mystery, then, that the vibrant energy with which the actress dominated her scenes in that film is in Ballerina suffocated under the suffocating weight of a legacy that doesn't seem to fully trust when straying from what has brought her success.

Only in this way can we understand the insistent presence of Keanu Reeves in the last third of the film, as well as the excessive footage that the film dedicates to reiterating and expanding specific details of the intricate mythology of the saga. That is why the way in which De Armas seeks her space in this rigid structure is interesting: the imposing presence of the actress is not so much due to her physical gifts as to her malleability and conviction as an action heroine. Thus, the best seven pieces The weakest parts of this uneven and disappointing film are those that involve handling an unexpected device (a flamethrower, grenades in hand-to-hand combat) or that place the protagonist in unusual contexts, such as the fantastic mountain village sequence.