It may be shameful but it’s no secret that I’m a fan of the STEP UP series. It’s like the DEATH WISH series in many ways. Okay, in only one way: I like all of them. The first one is enjoyable dumb melodrama, then the second is a surprisingly good and clever sequel, and the third is even better. Part 4, REVOLUTION, was not quite as good but I liked it, it had people dancing on bouncing cars and a ridiculous plot about using flash mob dancing as a tool of political protest and at the end Peter Gallagher thanked the guy for practically humping his daughter on stage in front of him. Because the transcendence of dance or whatever.
I’m happy to report that I liked part 5, STEP UP ALL IN, a little better than the last one, although admittedly they sorta cheat and do it by rehashing parts 2 and 3 and bringing back favorite characters for more than just cameos this time. (read the rest of this shit…)
What was the STEP UP saga missing before? Bikinis. The series began in Baltimore and in part 3 it continued into breakdancing’s birthplace, New York. Part 4 here is Assignment Miami Beach. We take up with a new set of characters, a group called The Mob, who stage ridiculous “flash mob” dance numbers as part of a Youtube competition to be the first dance crew to get 10 million hits. But when an out of town developer (Peter Gallagher, CENTER STAGE) plans to demolish their predominantly Latino neighborhood and replace it with a resort, they decide it’s “Enough performance art, time for protest art.”
This is a blog (short for web-log) post about the trailer for BATTLE OF THE YEAR 3D. The movie is not about the type of battles that are in the movies I normally write about here, but bear with me.
Whether you know it or not, you are anxiously awaiting my review of STEP UP REVOLUTION. I’m working on it, but I saw this trailer before the movie and I had to share it with you guys right away. At first I was just laughing because it’s a dance movie following a sports movie formula, so the characters keep talking about “the sport” of breakdancing. That is a very anti-STEP UP attitude. Dancing is an art, right? W the F.
But as I kept watching I realized something else. See if you pick up on it too:
Enough about premaquels. How about a good old fashioned straight up remake? Kinda refreshing!
I guess I never saw the original FOOTLOOSE before, ’cause I always thought it was about a town where you’re not allowed to dance because they’re real religious. In this remake by Craig Brewer (yes, HUSTLE AND FLOW, BLACK SNAKE MOAN Craig Brewer) the ban happens in response to a great tragedy, when five promising high school teenagers are killed in a head-on collision after a dance. In other words, this movie is about the Patriot Act. (read the rest of this shit…)
The most philosophically ambitious of the 3 PG-rated movies I watched is the one that’ll probly get the least credit for it, George Motherfuckin Two Men Enter One Man Leaves Miller’s HAPPY FEET TWO. And first of all I want to give them credit for spelling out the number in their sequel title and not misspelling it for a pun. I’m sure it’s not the first spelled out non-homonym sequel title in history, but I couldn’t name you another one. (read the rest of this shit…)
Okay, I know I’m not supposed to like a movie like this, I know I’m supposed to feel guilty if I get any pleasure from it, but I am a man with honor and I cannot tell a lie and all that shit so I gotta tell you that I fucking loved the cheesy dance competition movie STEP UP 3. Returning-from-part-2 director Jon M. Chu steps up (all puns are coincidental) the energy and inventiveness like he did before, but this time about tenfold. It’s stupid and hilarious and stylish and there’s more great dancing just in the deleted scenes than there was in all of part 1. (read the rest of this shit…)
STEP UP 2 THE STREETS is one of those impressive sequels that re-invents the whole thing and gives it new life. Because the main character is a girl, instead of a guy. Totally different.
No, seriously though, first time director Jon M. Chu had to deal with an all new set of characters except for a torch-passing guest appearance by Channing Tatum, hooking up a Maryland School of the Arts audition for his old family friend Andie (Briana Evigan [daughter of the guy from My Two Dads that’s not Paul Reiser]) to avoid her frustrated legal guardian (Sonja Sohn from SLAM and some TV show) sending her to live in Texas, where fewer people step up. When she gets to the school she has to put together a REVENGE OF THE NERDS super team of the school’s most talented outcasts. They’re frowned upon because they have big teeth or don’t speak very much English or are weirdos but they have unique styles that haven’t been properly displayed to the world. Together they just might be able to win the legendary underground (somehow illegal) dance competition called, uh, “The Streets.” Yeah, I think the title came before the screenplay on this one. But it was worth it. (read the rest of this shit…)
The opening credits of STEP UP had me laughing and remembering everything I hated about BREAKIN’ and knowing I made the right decision to rent this shit. A Petey Pablo song plays over a series of shots contrasting two worlds: ballet tippy toes in a well-lit dance studio; Timberlands and high-heeled boots dancing on dark concrete. Then it’s the legs of the ballet dancers hopping around; some dudes in a messy warehouse with chain link fences, loose tires and ladders jumping over each other’s shoulders and pumping their fists in unison. And it continues to alternate, comparing and contrasting the moves of the delicate ballet dancers and the people in their oversized hoodies, sideways hats and gold chains. (read the rest of this shit…)
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Recent commentary and jibber-jabber
VERN on Speak No Evil (2024 remake): “Don’t worry E-Squared, we’re pretty open minded around here. I think it’s okay to prefer this version.” Jan 21, 20:08
Aktion Figure on Red Rooms: “There seems to be a lot of hand-wringing going on here but this just sounds like a modern take on…” Jan 21, 19:46
Glaive Robber on Red Rooms: “@Inspector, I find it hard to believe the world of snuff isn’t a thing. We film everything, and it’s easier…” Jan 21, 18:26
Crudnasty on Red Rooms: “Hard pass on everything about this movie, just going off of Vern’s mercifully spoiler free review. Not that I don’t…” Jan 21, 15:20
RRA on Apartment 7A: “Glad to hear this might be decent. I’ll admit the fact it collected dust for a long time is why…” Jan 21, 14:30
Inspector Hammer Boudreaux on Red Rooms: “For me this movie was nowhere near entertaining enough for me to overlook the fact that *snuff films don’t fucking…” Jan 21, 12:58
darth irritable on Better Man: “He’s a monkey in the movie because he said he felt like a performing monkey throughout his career. He really…” Jan 21, 12:57
BuzzFeedAldrin on Red Rooms: “I didn’t think about the poem after watching this because the movie left me mostly “meh” so I didn’t do…” Jan 21, 12:51
The Allusionist on Red Rooms: “Rundle, thanks for the heads up about the Tennyson poem. Obviously it’s a major clue to the mystery of just…” Jan 21, 12:46
Aktion Figure on Better Man: “As a ride-or-die Devo fan, I really want to point out one of the funniest “gags” they ever did. Prior…” Jan 21, 12:28
Universal★Rundle on Red Rooms: “So ready to hear what Vern’s chat thought of this one. Vern, you’re being extra careful about spoiling a couple…” Jan 21, 11:42
Dustin on Red Rooms: “This one FUCKED ME UP 5 stars” Jan 21, 10:53
E-Squared on Speak No Evil (2024 remake): “I am just going to say it – I preferred this version over the original. Before I go into my…” Jan 21, 09:06
jojo on Red Rooms: “Before I go I’d like to mention that the score by Plante’s brother Dominique (also a songwriter for pop singer…” Jan 21, 08:30
BuzzFeedAldrin on Red Rooms: “Watched this the other day and it left me puzzled. There were set ups for lots of interesting twists but…” Jan 21, 08:01
It may be shameful but it’s no secret that I’m a fan of the STEP UP series. It’s like the DEATH WISH series in many ways. Okay, in only one way: I like all of them. The first one is enjoyable dumb melodrama, then the second is a surprisingly good and clever sequel, and the third is even better. Part 4, REVOLUTION, was not quite as good but I liked it, it had people dancing on bouncing cars and a ridiculous plot about using flash mob dancing as a tool of political protest and at the end Peter Gallagher thanked the guy for practically humping his daughter on stage in front of him. Because the transcendence of dance or whatever.
Enough about premaquels. How about a good old fashioned straight up remake? Kinda refreshing!
The most philosophically ambitious of the 3 PG-rated movies I watched is the one that’ll probly get the least credit for it, George Motherfuckin Two Men Enter One Man Leaves Miller’s HAPPY FEET TWO. And first of all I want to give them credit for spelling out the number in their sequel title and not misspelling it for a pun. I’m sure it’s not the first spelled out non-homonym sequel title in history, but I couldn’t name you another one.
Okay, I know I’m not supposed to like a movie like this, I know I’m supposed to feel guilty if I get any pleasure from it, but I am a man with honor and I cannot tell a lie and all that shit so I gotta tell you that I fucking loved the cheesy dance competition movie STEP UP 3. Returning-from-
STEP UP 2 THE STREETS is one of those impressive sequels that re-invents the whole thing and gives it new life. Because the main character is a girl, instead of a guy. Totally different.
The opening credits of STEP UP had me laughing and remembering everything I hated about BREAKIN’ and knowing I made the right decision to rent this shit. A Petey Pablo song plays over a series of shots contrasting two worlds: ballet tippy toes in a well-lit dance studio; Timberlands and high-heeled boots dancing on dark concrete. Then it’s the legs of the ballet dancers hopping around; some dudes in a messy warehouse with chain link fences, loose tires and ladders jumping over each other’s shoulders and pumping their fists in unison. And it continues to alternate, comparing and contrasting the moves of the delicate ballet dancers and the people in their oversized hoodies, sideways hats and gold chains. 
