Story: Five ballerinas on their way to a competition get stranded at a remote inn in Hungary, only to realise it is tied to a group of violent criminals. After a sudden killing traps them inside, they are forced to fight back and use their training to survive.
Review: ‘Pretty Lethal’ opens with a premise that sounds far more exciting than what the film finally delivers. It clearly aims for the kind of stylish violence that made ‘Kill Bill’ stand out, but it never quite finds that same confidence. Five ballerinas taking on dreaded Hungarian criminals is a striking idea, no doubt, and it promises a mix of elegance and brutality that could have been something special. The film gets the setting and mood right from the start, and the performances hold things together. Still, the impact feels muted. At ninety minutes, it moves quickly and does not waste time, but the action lacks the sharpness expected today. It works in bits and pieces, yet never surprises. Even then, the grim Eastern European backdrop feels convincing, and the film stays watchable despite being easy to predict.
The story follows five American ballerinas—Bones (Maddie Ziegler), Princess (Lara Condon), Grace (Avantika), Chloe (Millicent Simmonds), and Zoe (Iris Apatow)—training under their instructor, Miss Thorna (Lydia Leonard). They are headed to Budapest for a competition when their bus breaks down in the Hungarian countryside. With no real option, they take shelter in a nearby inn, planning to leave the next day. That decision turns out to be a mistake. The inn is not just a random stop; it is a place tied to local gangsters, and there is tension in the air from the moment they arrive. The owner, Devora (Uma Thurman), clearly has history with these people, though the film reveals it slowly. When Pasha shows up to collect money for his father, things get out of hand very quickly. One violent moment changes everything, and suddenly the girls are stuck in a place where getting out alive becomes the only thing that matters.
The core idea here is strong, maybe stronger than the film itself. Ballet and violence are not an obvious mix, and that is exactly why it works. There are moments when the film taps into this contrast and you see what it could have been. Watching trained dancers turn their skills into survival tools has its own appeal. But the film hesitates too often. It never fully commits to the chaos it hints at. The action feels controlled when it should feel messy and dangerous. Vicky Jewson seems to aim for a balance between dark humour and action, but it does not always land. The biggest letdown is how Uma Thurman is handled. You expect her to drive the action, or at least be part of it in a meaningful way. Instead, she is kept at a distance, which feels like a strange choice.
The performances are easily the film’s most reliable part. Maddie Ziegler does well as Bones, playing her with a quiet sense of control that fits the situation. She comes across as the natural center of the group. Lana Condor adds a bit of spark as Princess, especially with her competitive edge. Avantika, Millicent Simmonds, and Iris Apatow fit in well and support the group without feeling wasted. Lydia Leonard has a limited role but still leaves a mark early on. The issue is not the acting; it is how certain characters, especially Devora, are written. Thurman brings menace and intimidation, but the script holds her back too much.
‘Pretty Lethal’ is easier to enjoy if you do not overthink it. It plays out like a simple survival story and sticks to that lane. The short runtime helps, and the film never overstays its welcome. There are moments where it clicks, especially when the ballerinas start fighting back and take control. The tight, claustrophobic setting adds to the tension and makes the situation feel more grim. Still, it is hard to ignore how much the film holds itself back. It plays safe when it could have gone further. Everything needed for a stronger film is here, but it never quite comes together. What you get is brief flashes of something far better that never fully arrives.