I’ve written about a bunch of these corny 21st century dance movies, and I always seem to be comparing them to the BREAKIN’ movies, but I’ve never actually reviewed the BREAKIN’ movies. That ends now. I’m reviewing the BREAKIN’ movies. The world could use more focus on the BREAKIN’ movies right now.
In a certain way, BREAKIN’ changed the whole world for me. I’m pretty sure it was BREAKIN’ and/or the cultural conversation around BREAKIN’ that first opened my eyes to this movement of music, art and dancing that older, cooler kids in far away New York had been building for several years. If you weren’t alive then I’m not sure you can imagine what a phenomenon it was. I remember a music teacher giving us diagrams of moves, trying to teach us (what she said was) the moonwalk, talking about Michael Jackson being inspired by breakdancers and breakdancers being inspired by James Brown. It was the music part of hip hop culture that would become important to me, and (as I said in my review of the companion movie RAPPIN’), at that time I don’t think I even knew the word “rap.” I called it “breakdancing music.” (And, though I kind of like this soundtrack, I don’t associate it much with the type of rap I soon fell in love with.) (read the rest of this shit…)
TRAIN TO BUSAN PRESENTS PENINSULA is, of course, director Yeon Sang-ho’s sequel to his excellent zombie hit 
I have very little familiarity with Alexandre Dumas’s The Three Musketeers, or even any of its many famous film adaptations. I think I mainly know the characters from the cartoons on The Banana Splits. So this review is not coming from the perspective of a true Muskie or Musketmaniac. Instead, I come to THE MUSKETEER (2001) as a fan of two movements in ‘90s/2000s cinema that improbably collided in this movie. Those movements are:
“I’m just thinking. What if people don’t get it? I mean our Street-Latin fusion. Dancing with just us is one thing, but, a street dance battle, I just don’t…”
BECKY (2020) is a pretty quick and simple thriller with a promising hook: neo-Nazi escaped convicts invade a vacation home looking for a valuable item, and it’s up to a 13-year old girl to improvise enough weapons to seriously fuck them up. Gritty HOME ALONE, I guess. It somewhat delivers on the premise, mostly in the area of (as the rating says) “grisly images and strong bloody violence.”
I reviewed THE LAST BOY SCOUT (1991) 
LOST BULLET (original title: BALLE PERDUE) is an outstanding 2020 French action movie that’s available on Netflix, and it turns out it’s one of my favorites of last year. It’s a car chase movie and a one-man-on-the-run-trying-to-prove-his-innocence thriller and there’s a little bit of fighting and both the action direction and the storytelling are beautifully clean. It feels raw and grounded, but in a good way, not in that joy-sucking sort of way where realism is more important than entertainment. Man, I loved this one.
I kinda liked 
I reviewed the ruckus-on-an-airplane thriller 
It doesn’t seem like many people read my reviews of these 21st century competitive street dancing movies, but I have a fascination with them, so here we are. STREETDANCE 3D is a UK entry in the subgenre and it’s from 2010 – six years after 
