‘Ballerina Assassin’ VOD Review
Stars: Preet Kaur, Dominic Keating, Winston Salk, Nicolas Sellar, Rocio Scotto, G. Anthony Joseph, Ignacio Alcala Jr., Joe Kurak | Written by Jacob David Smith | Directed by Michael Su
Ballerina Assassin is The Asylum’s latest low-budget answer to a big-budget blockbuster — this time taking aim at Ballerina, the recent John Wick spin-off. In classic Asylum style, it embraces the “mockbuster” model: shamelessly inspired by Hollywood, made on a shoestring, and packed with the kind of scrappy charm that cult film fans tend to adore, or at least tolerate with affection.
Let’s be honest — the connection to its glossier cousin is skin-deep at best, but that’s half the appeal. Watching something like Ballerina Assassin feels like finding a dusty VHS tucked away in the back of a long-forgotten video shop. It’s weird, low-rent, and strangely compelling.
While Ballerina reportedly cost tens of millions to produce, Ballerina Assassin was put together for a reported budget of around $100,000 – and it shows. The visuals are rough, the effects are basic, and the action is sparse. But credit where it’s due: director Michael Su clearly stretches every penny, delivering something that, while far from polished, shows effort and heart. It’s the kind of microbudget filmmaking that leans hard on enthusiasm over elegance.
At the centre of the film is Maria, played by Preet Kaur, a former ballerina turned undercover operative. Yes, it’s as bonkers as it sounds, and Kaur commits to it fully. She brings genuine intensity to the role, anchoring the film with a performance that’s far better than the material deserves. Whether trading punches or pirouetting through plot twists, she proves she’s got the screen presence to carry a lead and wouldn’t be out of place in a higher-tier production.
The plot? Maria’s tasked with tracking down Carmen, the wife of a cartel boss who just so happens to be auditioning for a ballet company. What follows is a mix of betrayals, secret missions, and spy-thriller tropes. Nothing especially new, but it does enough to keep things moving – even if the pace drags in the first act.
One of the film’s more bizarre charms is how it tries to integrate ballet into the action. The choreography is barebones, and the dancing’s clearly limited by budget and training. Still, there’s a memorable scene where Maria twirls her way through a laser grid – it’s absurd, but in the best kind of way. It’s these surreal genre mash-ups that give the film its oddball identity.
Clocking in at just under 90 minutes, Ballerina Assassin doesn’t overstay its welcome, but some viewers may find the slow build a test of patience. The fight scenes, when they arrive, are brief and basic. Visual effects are minimal, and the cinematography is strictly functional. But in the world of Asylum productions, the bar isn’t “blockbuster polish,” it’s “did they give it a go?” And here, the answer is yes.
What sets this one apart from the usual mockbuster fare is the cast’s level of commitment – particularly from Kaur. She’s not phoning it in. In fact, she seems determined to elevate the material, which goes a long way in making the film more watchable than expected. The supporting cast is less memorable, but at least they’re showing up and trying.
Ballerina Assassin isn’t going to convert anyone who isn’t already on board with low-budget genre cinema. But if you’ve got a soft spot for indie action flicks with more heart than cash, this scrappy little number delivers just enough to justify the watch. Most importantly, it gives Preet Kaur a spotlight, and she absolutely deserves to be seen in something with a bigger budget and a stronger script.
*** 3/5
Ballerina Assassin is available on digital platforms now.
