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…)
CHEERLEADER CAMP was supposed to be called BLOODY POM POMS, which makes more sense. The title the distributors chose doesn’t get across that it’s a horror movie. I’m sure they rejected a million titles that would’ve worked, too. SCREAM SPIRIT, SKIRTS OF BLOOD, GO SCREAM GO, GIMME AN AAAAAAGGGGGH, etc.
A few years ago when I wrote about 
