“Pretty Lethal” follows five ballerinas who find themselves in a fight for their lives after seeking shelter at a mysterious roadside inn that’s run by a former ballet prodigy.
A Stylish Concept That’s a Little Too On-the-Nose
The name “Ballerina” was taken last year… so now you get “Pretty Lethal.” This exists in a similar lane as the “John Wick” spin-off. The difference? It’s not just one dancer – but several – all using their skills to survive.
“Pretty Lethal” is too on-the-nose for its own good. While the fight sequences effectively use the ballerinas’ skill sets in entertaining ways, the dialogue tells a different story. Time and time again, the film tries to force drama and meaning, turning itself into something that it’s not.
“It’s tragic. Between the five ballerinas there is almost 100 years of training, dedication, pain, passion and discipline. All to be extinguished by the folly of one idiot.”
In doing so, it speaks directly to the audience – becoming pretentious even though it has no business doing so. After all… viewers likely came for the action.
Action That Hits Even When the Tone Doesn’t
And in that regard, it works. “Pretty Lethal” takes the ballerinas’ athleticism and throws it into a variety of extremely violent situations. The result is a series of exhilarating fight sequences: full-blown routines, choreography and… a lot of spins. On top of that, there is plenty of slashing and stabbing for fans of carnage candy.
The film also leans into the characters’ inexperience. They are not trained killers, and the unpredictability of their situation often becomes the joke. Because of this, many of the most intense moments play more for laughs than tension.
Sometimes, it lands. Other times, not so much.
That imbalance becomes the film’s biggest issue. “Pretty Lethal” never fully finds its tone – and more often than not, it leans too far into the comedy.
Still, even when the humor misses, there is something satisfying about the action. The rhythmic nature of the fighting keeps things watchable, even when everything around it starts to slip.
Missed Potential Beyond the Fight Sequences
While the choreography impresses, “Pretty Lethal” doesn’t reach its full potential visually. The camera work rarely matches the energy of the performers. What should feel fast and fluid instead comes across as high-octane numbers with dull execution.
Director of photography Bridger Nielson does make use of varied lighting to add atmosphere, but it isn’t enough to elevate the overall look.
Paul Leonard-Morgan’s score is also restrained – intentionally so. The music leans triumphant and at times almost laid-back, which fits the film’s comedic angle but further limits its ability to build tension.
Narratively, “Pretty Lethal” introduces character dynamics and themes. Only to abandon them just as quickly. As the 88-minute runtime moves along, it becomes clear that story is not the priority.
Maddie Ziegler (Bones) sits at the center of it all. She delivers the most complete performance – balancing emotion with an unexpectedly imposing presence. The outcast role allows for the most range, and her constantly animated energy makes her hard to ignore.
Avantika (Grace), Lana Condor (Princess), Millicent Simmonds (Chloe) and Iris Apatow (Zoe) round out the ensemble.
“Pretty Lethal” plays things safe. Director Vicky Jewson delivers plenty of bloody ballerina fun, but not much else.
Rating: 2.5 out of 5
