Romeo and Juliet versus Dirty Dancing (again) – Step Up returns to the big screen
00:50 GMT, 10 August 2012
Step Up 4: Miami Heat (PG)
Verdict: Preposterous, but the dancing is hot
In Step Up 4: Miami Heat, two talented dancers — hunky Ryan Guzman and pretty Kathryn McCormick — try to breathe life into a tale that attempts to cross Romeo And Juliet with Dirty Dancing.
He’s a working-class waiter and street dancer, and she’s the rebellious daughter of a wealthy capitalist who thinks she should work for daddy, not hang out with all those dirty dancers.
There haven’t been many films this year with a more hackneyed storyline or tackier dialogue. This fourth film in the Step Up series is barely a sequel, as only a couple of minor characters are retained from the previous movies.
Not another one: Yet more dirty dancing with yet another tedious storyline
Released in the U.S. as Step Up Revolution, its big idea is that a small team of youthful dancers from the Miami underclass might rise up in revolt against the redevelopment plans of the aforementioned capitalist — that’s Peter Gallagher, giving those evil eyebrows of his yet another workout.
But any notion that this film espouses radical politics is hilariously reversed by the ending, which appears to have been devised by the board of a certain multinational sportswear company.
After all that heartfelt political activism, the youngsters can’t wait to sell out.
The most idiotic storyline of the year: But at least the dancing is good
This is one proletarian dance group that appears to have no money, yet manages to keep coming up with fabulous costumes, fully rehearsed dance routines and production values worthy of an Olympics opening ceremony.
It also has the miraculous ability to transform itself from around a dozen people into hundreds whenever this is necessary to fill the screen. However, no one attends such films for believability, political thought or narrative originality. What matters is the dancing.
Director Scott Speer doesn’t quite manage to ruin it all with his hyperactive editing. So just sit back and enjoy the choreography — and the year’s most risibly idiotic plotline.