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
Alex R on The Getaway (1972): “All of this stuff about New Hollywood is actually why Five Easy Pieces is one of my favorite movies– Jack…” Apr 24, 12:20
Mr. Majestyk on The Getaway (1972): “I think his point about Bill Murray is less about GROUNDHOG DAY specifically and more about Bill Murray’s filmography in…” Apr 24, 12:17
Curt on The Getaway (1972): “The thing we probably no longer grasp about those early postwar macho guys like Steve McQueen, Sean Connery, the Rat…” Apr 24, 11:08
Alex R on The Getaway (1972): “You’re probably right. I may be remembering a general sense of his tone, rather than the tone of the Getaway…” Apr 24, 09:47
Mr. Majestyk on The Getaway (1972): “I think he comes off less confrontational than that. He’s aware of all the reasons the movie is less hardcore…” Apr 24, 09:23
Alex R on The Getaway (1972): “I don’t remember a ton of Tarantino’s book but I do remember he seemed morally betrayed that this move didn’t…” Apr 24, 09:02
Mr. Majestyk on The Getaway (1972): “EDIT: He *doesn’t* inspire me to ponder his depths.” Apr 24, 05:52
Mr. Majestyk on The Getaway (1972): “So I’m making my way through Tarantino’s book of film criticism (Capsule review: Readable but underwhelming, both in film choice…” Apr 24, 05:49
VERN on Night Patrol (2025): “Hey, you’re right – FULL ECLIPSE does have a sort of similar premise.” Apr 23, 17:43
Max K. on Normal: “I really dug this film. Honestly, it mops the floor with Nobody 2, and is the fairly rare action comedy…” Apr 23, 17:20
Mr. Majestyk on Night Patrol (2025): “Didn’t they do this plot in the 90s with Mario Van Peebles, except the cops were werewolves?” Apr 23, 16:17
Birch on Night Patrol (2025): “I was under the impression Justin Long was widely considered a male scream queen tbh. Disappointing to hear this isn’t…” Apr 23, 15:32
Markov on The Raid: “I’m looking forward to the review AND the movie in equal measure now.” Apr 23, 12:12
JTS on Night Patrol (2025): “‘Promising premise but didn’t deliver’ is a great summation of this movie. I felt the same way.” Apr 23, 11:56
VERN on The Raid: “It’s also directed by the choreographer of the RUROUNI KENSHIN movies and choreographed by the same guy as the BABY…” Apr 23, 11:03
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. 
