“Step Up” Movie Series as Culture Media Piece Essay

For this assignment, I chose the cult movie franchise “Step Up” as my culture media piece. After the first movie’s success in 2006, the franchise continued with five more movies – with the last “Step Up” film, “Step Up China,” released in 2019. The romantic dance films became popular in the American culture, as well as around the world, due to their charismatic characters and impressive choreographies. Although the films are badly rated by critics, 21% on Rotten Tomatoes, the audience reviews are much higher, with the Rotten Tomato score of 83%. Since the franchise has spanned over a decade, the original viewers of the first film witnessed the changes and transformations to the “Step Up” throughout the years, making it a culture media piece.

With the popularity of “Dirty Dancing” in the 1980s and still today, and of the endless “Fast and Furious” movies, “Step Up” serves as the concoction of the two. It combines romance and dancing with the nature of a constantly developing franchise, resulting in cult films that are enjoyed by generations. Unsurprisingly, the creators of the franchise have used the influence of the platform to raise awareness of social issues – to different levels of success. For example, one of the most prominent and consistent contrasts and conflicts between the wealthy and the poor.

Since the franchise, as I have mentioned, has been developing over the past two decades, there have been noticeable technological advances in the later movies as opposed to the earlier ones. The global reach of the franchise, which was noted further with “Step Up China” (2019), is partially due to the addition of technology to the choreographies, making the dancing scenes more and more impressive every year. Furthermore, the series was greatly affected by social media in its casting, creation, and marketing. For example, Jon M. Chu, who directed some of the “Step Up” films, used MySpace to search for backgrounds for the scenes. Furthermore, the crew used social media casting to discover new talents and include them in the film (“Step Up 5 – Movie,” 2013). This allowed these upcoming actors and actresses to be discovered by other filmmakers, being a highly influential part of their careers.

Step Up. (n.d.). Rotten Tomatoes. Web.

Step Up 5 – Movie. (2013). Casting Call Hub. Web.

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Step up Revolution: An analysis

Step up Revolution: An analysis

This essay I will concentrate on utilizing Step up Revolution ( dir. Scott Speer, 2012 ) , a modern-day musical play genre to discourse that genre theory is still relevant for the analysis of 20 first century Hollywood movie. However to certain extent genre theory is matter-of-fact because a movie may non merely consist of a individual genre. The movie production of appealing to multiple audiences has caused the development of hybridity and sub-genre in modern-day movie. Contemporary theoreticians tend to depict genres in footings of ‘family resemblances ‘ among texts instead than definitionally ( Swales, 1990 ) . Genres tend to be based on peculiar conventions of content which are normally shared by the texts such as iconography, scenes and character or signifier including manner and narrative secret plans.

First of wholly, the outgrowth of sound movie engineering has developed musical movie from the traditional phase musical into a Hollywood large screen. The musical was one time a basic of Hollywood filmmaking, but it grew by and large unpopular after the sixtiess. Grant ( 2012 ) argued that audiences in this misanthropic age see these simple thematic messages of love and harmoniousness in musical movie as outmoded. Even till today, the populace still barely accepts the musical convention of characters spontaneously interrupting into vocal and dance. Therefore the modern-day movies have later become more and more cross-generic. The audiences in have different demand and adult accustomed to different types of media end product such as music, telecasting and movie. In fact, Codell ( 2007 ) argued that the commixture of genres has become a tendency in many Hollywood movies besides known as hybridity. Hybridity genre refers as the blending of several genres into one movie such as musical and play. That implies modern-day musical movie like Measure up Revolution normally involves of the hybridity play narrative having with dynamic popular musical genre. This is because utilizing musical genre merely in the large screen will systematically been overlooked or at least unexamined in most mainstream texts. The manufacturer of modern-day musical movie tends to include a dramatic narrative secret plan having popular music and modern-day dance into the movie in order to make and uphold audience’s involvement into film. Measure Up is fundamentally about Emily and Sean who leads a dance crew called “The Mob” autumn in love with each other. Equally simple as that, nevertheless both of them have their ain aspiration to accomplish their dream through professional dance and public presentation. Furthermore, engineering besides contributes to the development of hybridity and the modern-day musical. Likewise the consequence and stage dancing in Measure Up were intentionally created to elicit audience’s involvement through 3D ocular experiences in the film. Thus the loanblend movie non merely entreaties to multiple audiences at one time but besides prosecute the mark audience of musical and play movie lover.

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With regard to musical genre, a genre can be identified by its surface construction or iconography, what the text looks like and sounds like. Indeed, every movie consists of recognizable mark and iconography which it can be identify through the codifications and conventions. The first degree designation of genre can mention to the general mise-en-scene in the movie. One of the most recognizable iconography in Measure up is first and first music and dance. Music and dance were closely related, while they were non exactly tantamount footings, they were frequently used interchangeably and extremely dependent to each other in the movie. As a consequence, many movies normally understood as musical frequently includes music and dance. Measure Up is fundamentally meant to aim on the younger audiences so usually we would see modern-day dad music and auto-tuned instead than it was sing by the character. On the other manus Grant ( 2007 ) argued that character in the film frequently contribute to the expression of peculiar genres therefore doing it more recognizable to the audiences. Therefore musical movies frequently associate with peculiar histrions that related or with the background of the music industry. As we can see in Measure up, the chief function Ryan Anthony Guzman ( Sean ) is an American modern-day terpsichorean and histrion while Kathryn Renee McCormick ( Emily ) is noted for puting 3rd in the American world Television show of So You Think You Can Dance. In add-on, the scene may finally utilize to reenforce the genre in the movie such as Step up Revolution: Miami Heat. It someway provides the audience the impressions that it is related to groovy action, motion and modern-day dance in the metropolis of Miami. As Grant ( 2007 ) besides farther describes iconography as symbolic significance that is non necessary a connexion established within single text, but it is symbolic because they have been shared by a figure of similar texts. The screen of the movie is really much musical which it shows Sean and Emily dance position with the groovy background coloring material ( mention to Appendix 1 ) . Through familiar mark, secret plans and characters based on other musical genre, we already know what is traveling on and anticipate from the movie.

Another manner of looking at the genre is through conventions. In fact, musical frequently work in few consistent manner. Grant ( 2007 ) argued that the convention of musical genre movie is someway anti-realist. First, musicals portray singing and dancing as the character’s natural dispositions and endowments. In add-on, the narrative frequently arrests when the characters break into the vocal and dance even though it is someway unrealistic in the sense. It is like a carefully choreographed and rehearsed event which they seem to aline with the non-diegetic music that all of a sudden materializes from nowhere. Likewise, Gene Kelly in Singing in the Rain vocalizing and dance in the center of the pouring rain by swirling an umbrella is non something we can see in our day-to-day life. This classical illusory pattern and fantastical attack made musical genre as a unique of their ain in movie industry. The character in Measure up performs flash rabbles in different scenes of Miami ( refer to Appendix 2 ) with somehow unrealistic agreement. The manner of the musical genre is that the characters really frequently execute for camera instead than for the audience within the movie ( mention to Appendix 3 ) . In fact, every musical genre entreaties to the rational and cultural tendencies of its clip ( Perone, 2004 ) . Measure Up is a musical genre that create energetic and adrenaline ambiance with their music and dance. Therefore it would be different from what we see in the traditional or other types of musical genre. However, still the movie ever reflects the tendencies exist in the current society in order to appeal to their mark audience like dad and electronic music, modern-day dance like Hip Hop, Popping and breakdance and societal networking like Facebook and Youtube have become of import elements in the movie. While really much similar in the traditional musical movie, the modern-day musical frequently focuses on portraying how the twosome are fighting in the current society of our clip.

In fact, most of the Hollywood movie is formulated and constructed in additive narrative. As Benshoff & A ; Griffin ( 2009 ) argued that although there are little fluctuations can be found in infinite Hollywood movies, the manner of cinematically stating narratives is fundamentally the same today as it was in the 1930s. Classical Hollywood manner is to maintain every secret plan and characters clearly understood. Thomas ( 1981 ) argued that the classical myth of a musical is fundamentally the meeting of male child and miss, male child and miss put on a show through the musical and dance public presentation, male child and miss have emotional struggle which they resolved the struggle through loving embracing in musical coda. Musical is non thriller and the rule is ever seek to avoid of excessively much complexness in the narrative. Likewise in Measure up, Emily met Sean in the beach as the alien through dance, so Sean merely recognize Emily is the girl of his employer, they fell in love. However these turns and turns escalate into the flood tide when Emily’s father planned to develop the slums which belong to Sean ‘s and the 100 local people home into a multibillion dollar substructure undertaking. In fact, it should non surprise that most Hollywood’s usage of the happy stoping, a specific signifier of closing, ties up all of the story’s loose terminals and the love involvement amalgamation as a romantic twosome. With no uncertainty, all complication are resolved in the terminal when Sean and Emily snog passionately together even after Sean and his crew members’ flash rabble program work as a public service proclamation has destroy Emily’s father multibillion dollar undertaking. Thomas ( 1981 ) argued that the character in musical frequently resolve their struggle through dramatic narrative and extremely structured and luxuriant musical and dance productions. It someway unrealistic, the fundamental of musical movie has ever been traditionally stress of utilizing happy stoping which the supporter and the love involvement amalgamation as a romantic twosome irrespective what it is.

As decisions, genre theory is still practical to place and sort movies into a well-developed list based on the iconography and conventions. It is like a guideline to direct where the movie should belong to and how it should be produced. The developments of movie and productions attempt of appealing to multiple audiences have created the new signifier of genre, the intercrossed movies. Although intercrossed movie consists of the blending of several genres, the Hollywood movie is still really much formulated and straightforward to understand. Therefore it is of import for genre theory to invariably re-define itself based on the engineering, audience and civilization in the society.

ALTMAN, R. ( 1981 ) The American movie musical: Paradigmatic construction and mediatory function’ genre: The Musical , London: Routledge, 197-207.

ALTMAN, R. ( 1984 ) Society for film & A ; media surveies: A semantic and syntactic attack to movie genre, Cinema Journal , 23:3, 6-18 [ online ] Available from: www.swetwise.com [ Accessed 9 July, 2014 ]

BENSHOFF, H. M, & A ; GRIFFIN, S. ( 2009 ) America on movie: Representing race, category, gender and gender at the films, Oxford: Blackwell Publishing Ltd.

CODELL, J. L. ( 2007 ) Genre, gender, race and universe film: An anthology , Oxford: Blackwell Publishing Ltd.

COHAN, S. ( 2001 ) Hollywood musical Indiana , America: Macmilan Press.

GITTINGS, C. ( 2001 ) Zero forbearance, genre, difference and political orientation: Singing and dancing fagot state, Cinema Journal 41:1, 28-39.

GRANT, B. K. ( 2012 ) The Hollywood Film Musical, Westminster : Performing art Publication.

GRANT, B. K. ( 2007 ) Film Genre: From iconography to ideology , Columbia: Wallflower Press.

PERONE, J. E. ( 2004 ) Music of the counterculture epoch, Westport : Greenwood Publishing Group

STEP UP REVOLUTION. ( 2012 ) [ Film ] Directed by Scott Speer. California: Acme Entertainment.

SWALES, J.M. ( 1990 ) Genre analysis: English in academic and research scenes , Cambridge: Cambridge University Press.

THOMAS, S. ( 1981 ) Hollywood genres: Formulas, filmmaking and the studio system , New York: McGraw-Hill.

Appendix 1- the screen of Step Up Revolution

step up movie essay

Appendix 2- the characters executing for the camera instead than the audiences at the buttocks

step up movie essay

Appendix 3- the rabble executing their cutting-edge flash rabble in the different scene in Miami

step up movie essay

Appendix 4- 3D version entreaty to larger audience

step up movie essay

Appendix 5- Emily foremost meet Sean, the classical male child and miss meet up scene

step up movie essay

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Step Up Revolution

Step Up Revolution

  • Emily arrives in Miami with aspirations to become a professional dancer. She sparks with Sean, the leader of a dance crew whose neighborhood is threatened by Emily's father's development plans.
  • The Mob sets the dancing against the vibrant backdrop of Miami. Emily arrives in Miami with aspirations of becoming a professional dancer and soon falls in love with Sean, a young man who leads a dance crew in elaborate, cutting-edge flash mobs, called "The Mob". When a wealthy business man threatens to develop The Mob's historic neighborhood and displace thousands-of people, Emily must work together with Sean and The Mob to turn their performance art into protest art, and risk losing their dreams to fight for a greater cause. — 5atyajit
  • Set in Miami. Sean and his friend Eddie lead a flash mob who call themselves The Mob and they have flash mobs all over the city so that they could win an online contest. They also work at a luxury hotel. Sean meets a girl named Emily who is the daughter of the owner of the hotel, who aspires to be a dancer which her father doesn't support and they hit it off. Eventually Emily joins The Mob and she learns that her father plans to tear down the neighborhood where they live. She gets them to use The Mob to launch a protest. — [email protected]
  • An aspiring dancer in Miami befriends an innovative flash-mob dance crew, and helps them to stage a footloose protest in order to save their neighborhood from a greedy developer. Emily (Kathryn McCormick) has always dream of becoming a professional dancer. Shortly after moving to Miami, she meets up with Sean (Ryan Guzman) -- the leader of a crew called The Mob that takes the art of dance straight to the streets. Meanwhile, as Emily falls for Sean, a powerful businessman begins plotting to demolish the crew's historic neighborhood to make way for a highly profitable development. Now, with their homes at stake and nothing to lose, Sean, Emily, and The Mob prepare to stage a show that will save their families from getting thrown into the streets.
  • Step Up: Revolution is the next installment in the worldwide smash Step Up franchise, which sets the dancing against the vibrant backdrop of Miami. Emily (Kathryn McCormick) arrives in Miami with aspirations of becoming a professional dancer and soon falls in love with Sean (Ryan Guzman), a young man who leads a dance crew in elaborate, cutting-edge flash mobs, called "The Mob". When a wealthy businessman threatens to develop The Mob's historic neighborhood and displace thousands of people, Emily must band together with Sean and The Mob to turn their performance art into protest art, and risk losing their dreams to fight for a greater cause.

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step up movie essay

Somewhere in between "Fame" and "DeGrassi High" is Step Up , a teen dance flick that dares to go where many have gone before. The movie doesn't offer anything we haven't seen, but it doesn't fall flat on its face either. Watered down Save The Last Dance meets Take the Lead sans Antonion Banderas' charm, it's a movie that teenage dancers and hip hop lovers can embrace. The rest of us can sit back and tolerate the mediocre drama while taking in the dazzling dance numbers.

Tyler Gage ( Channing Tatum ) is a product of the foster care system of Baltimore, Maryland. He's never had much to hold on to and his talent for dancing is wasted on late night, back street parties. A penchant for petty crime lands him doing community service at the Maryland School of Art, an eclectic place where the next K Fed might be found dancing and mixing tracks across the hall from the next Yo Yo Ma.

While serving out his hours as an assistant janitor at the school, he crosses paths with Nora (Jenna Dewan), a dance student. Her senior performance piece has hit the rocks and desperation drives her to take on Tyler as a partner. At first her traditional dance style and his street moves grate against each other like nails on chalkboard. With a little understanding, though, they blend their styles into a whole new dance routine. Add in Nora's dancer/singer friend Lucy (Drew Sidora), fellow student and master music mixer Miles (Mario) and by their powers combined they are one hot dance number.

Split them apart however and things get a little rickety. Dewan and Tatum share the kind of chemistry that only a teenage girl could buy into, much less love. When the friends are shuffled into various dramatic combinations, the acting degrades into the stuff of the old Saturday morning specials. To the movie's credit, the situations the characters find themselves in lead to valuable, if not predictable, life lessons. The feel good moments are built in and help, in part, to save the floundering drama.

Step Up relies far too heavily on character types we've seen before. If this is your first foray into the realm of teen dance dramas you might not notice, but otherwise expect it to be a little annoying. From Nora's stuck-up, pop idolish boyfriend to Tyler's troublemaking best friend, right down to the tag along, begging-to-be-killed-in-a-drive-by-shooting little brother, the movie is crammed full of people and scenarios borrowed shamelessly from other films. The adult characters are by far the worst, but given the movie's target audience it no doubt pays to keep the grown-ups as stereotypical as possible. The worst part about these pseudo-stock characters is how easy it is to guess what their part is in the story. It's kind of hard to be shocked by or scared for them when you've got a pretty good idea of what their going to do next and how things are going to work out.

Long time choreographer and first time director Anne Fletcher seems a little lost her first time behind the camera. While her eye for choreography produces some impressive dance sequences (some that even wander into the Bollywood realm), her movie regularly loses momentum and at times gets downright tedious. For someone who has a lot of experience with movement, she seems to struggle to keep her film moving towards its final destination.

To the movie's credit, it doesn't pander to the current popularity of Channing Tatum's "hotness". She's The Man had the teen and tween girl demographics aflutter with the actor's naked chest. He may not offer much in the way of a strong performance in this movie, but I give Fletcher credit for keeping Tatum's shirt on throughout the entire film. The girls may be disappointed with that choice, but there's plenty of him and the rest of his twenty-something cast mates students gyrating to hip hop to keep the My Space gang smiling.

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step up movie essay

How Can I Write an Essay About a Movie? Image

How Can I Write an Essay About a Movie?

By Film Threat Staff | May 23, 2023

Watching movies for a long time has been a major past-time for most individuals. The people expect to sit in front of their screens and get thrilled into a world of adventure, mystery, and wonder.

But how can you gauge your appreciation and understanding of filmmaking? Writing an essay about a movie is one way of showing your grasp of the content.

Movie analysis is a common assignment for most college students. It is an intricate task where every detail matters while tied together to form a part of the story.

A part of the assignment involves watching a particular movie and writing an essay about your overall impression of the movie.

Essay writing services such as WriteMyEssay show that more than rewatching a movie several times is needed to make up for a solid movie analysis essay. Here is a step-by-step guide on how to write your movie analysis:

What Is a Movie Essay?

step up movie essay

The world of literature is multifaceted while testing different attributes of students. A movie analysis essay, at its core, seeks to uncover the hidden layers of meaning within the cinema world.

A movie analysis essay is much more than a movie review that seeks to delve into the artistry behind filmmaking. Thus, it seeks to test a student’s prowess in understanding various elements that come together to form a meaningful cinematic experience.

The main purpose of movie analysis essays is to dissect different components employed by a film in making a unique and impactful storyline.

Students can appreciate the filmmaking process’s complexities by analyzing these different elements. Also, students can develop a keen eye for the nuances that elevate a movie from entertainment to a work of art.

Here are top tips by experts when writing an essay about a particular movie during your assignments:

1. Watch the Movie

The first obvious standpoint for writing an essay about any movie is watching the film. Watching the movie builds an important foundation for the writing exercise. Composing an insightful, compelling, and well-thought movie essay requires you to experience it.

Therefore, select an appropriate environment to watch the movie free from distractions. Moreover, immerse yourself in the full movie experience to absorb all the intricate details. Some critical elements to note down include:

  • Characterization
  • Cinematography

We recommend watching the movie several times in case the time element allows. Rewatching the film deepens your understanding of the movie while uncovering unnoticed details on the first take.

2. Write an Introduction

The introductory paragraph to your movie essay should contain essential details of the movie, such as:

  • Release date
  • Name of the director
  • Main actors

Moreover, start with a captivating hook to entice readers to keep reading. You can start with a memorable quote from one of the characters.

For example, released in 1976 and Directed by Martin Scorsese, ‘The Taxi Driver’ starring Robert De Niro as the eccentric taxi driver.’

step up movie essay

After writing an enticing introduction, it is time to summarize what you watched. A summary provides readers with a clear understanding of the movie’s plot and main events. Hence, your readers can have a foundation for the rest of your movie essay.

Writing a summary need to be concise. The entire movie essay should be brief and straight to the point. Ensure to capture the main arguments within the movie’s plot. However, avoid going into too many details. Just focus on giving concise information about the movie.

4. Start Writing

The next vital part is forming the analysis part. This is where the analysis delves deeply into the movie’s themes, cinematography, characters, and other related elements.

First, start by organizing your analysis clearly and logically. Each section or paragraph should concentrate on a particular aspect of the film. Ensure to incorporate important elements such as cinematography, character development, and symbolism.

In addition, analyze different techniques employed by filmmakers. Take note of stylistic choices, including editing, sound, cinematography, imagery, and allegory. This helps contribute to the overall impact and meaning.

Lastly, connect your analysis to the thesis statement. Ensure all arguments captured in your analysis tie together to the main argument. It should maintain a straight focus throughout your essay.

Remember to re-state your thesis while summarizing previously mentioned arguments innovatively and creatively when finishing up your movie essay. Lastly, you can recommend your reader to watch the movie.

Final Takeaway

The writing process should be a fun, demanding, and engaging assignment. Try these tips from experts in structuring and logically organizing your essay.

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Certainly you don’t go to a “Step Up” movie for the glittering repartee. You go for the dazzling dance moves. But even by the standards of this franchise—and this genre in general—“Step Up All In” is pretty laughable.

If only there were a way you could fast-forward through all the junk while sitting in the movie theater—the wooden delivery and barely-there characterizations, the tedious exposition and contrived conflicts—and just get to the performances. But alas, one must endure banal dialogue and a flimsy plot in order to enjoy the gravity-defying, acrobatic extravaganzas. It’s enough to make you wish they’d called the movie “Step Up and Shut Up.”

Instead, the title of this fifth film in the series is as bland as the members of the competing dance crews that populate it. Perhaps there’s some allure here for true devotees in that characters from previous installments return and collaborate, “Fast-and-Furious”-style. (Sadly, Channing Tatum —who began his rise to superstardom in the original “Step Up” back in 2006—is nowhere to be found. Then again, he has far better things to do these days.) If you’re a newbie, you won’t be lost—this isn’t exactly a Christopher Nolan film in terms of narrative complexity—but you’ll probably be checking your watch as you wait for the next dance number to start.

Director Trish Sie ’s feature debut, with a script from John Swetnam, begins in lively fashion, though. Sean (the blankly handsome and hunky Ryan Guzman ) and his pals in the dance crew The Mob work their butts off at commercial auditions while wearing ridiculous costumes and incorporating various products. It’s the dance-film version of a rom-com bad date montage. These are the performers who moved from Miami to Los Angeles after winning a spot in a high-profile Nike ad in the previous movie, 2012’s “ Step Up Revolution ," but now they’re finding that surviving as working dancers in L.A. is nearly impossible and decide to go back home—all except Sean.

He discovers a VH1 competition called "The Vortex," which will give one winning dance crew a three-year gig at Caesars Palace in Las Vegas. The host is the outlandish Alexxa Brava (the perky, Polish actress-dancer Izabella Miko ), who clearly shops at the same boutique as Effie from “The Hunger Games.” She’s super dramatic in her delivery as she announces the teams and the rules, but it’s hard to tell whether she’s going for over-the-top parody or run-of-the-mill Vegas cheese.

Sean quickly assembles a new crew, including the good-hearted Moose (series veteran Adam Sevani), who brings the group together; the stubborn Andie (the Demi Moore-esque Briana Evigan from “Step Up 2: The Streets”); and the daffy Jenny Kido ( Mari Koda , another series regular), who provides broad comic relief. There are so many characters crammed in here, though, that it’s easy to forget that some of them even exist. Which is the guy from Baltimore and which is the one from the Bronx? Doesn’t matter, really, as long as they hit their marks sharply.

And they do—they all do—in increasingly elaborate dance numbers. An early dance-off at a bar opposite the rival crew the Grim Knights is fun in an aggressive sort of way. The mad-scientist inspired performance they concoct for their audition tape is a highlight (but please don’t trouble your mind wondering how they got a hold of all those costumes and props and shot it all with multiple camera angles).

But the big finale where the top four crews in the competition battle it out for world domination is a lengthy and thoroughly enjoyable spectacle that makes all the preceding dreck worthwhile. It’s an awe-inspiring display of choreography, energy and athleticism. Naturally, the finalists include Sean’s new crew, his old crew and the crew they both can’t stand, led by a sleazy Stephen "Stev-O" Jones. (This is not a spoiler. This is the cosmically contrived way these things work out in movies like this, regardless of the kind of competition.)

Will Andie get over her fear of injuring her knee again and pull off that big, climactic stunt? Will Sean ever be able to pay his rent again? Will Sean and Andie kiss as knew they would from the first second they met, despite a complete lack of chemistry? And where did they get the flaming torches for their climactic last dance? Shutting off your brain and putting on your dancing shoes seems to be the only appropriate answer.

Christy Lemire

Christy Lemire

Christy Lemire is a longtime film critic who has written for RogerEbert.com since 2013. Before that, she was the film critic for The Associated Press for nearly 15 years and co-hosted the public television series "Ebert Presents At the Movies" opposite Ignatiy Vishnevetsky, with Roger Ebert serving as managing editor. Read her answers to our Movie Love Questionnaire here .

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Film Credits

Step Up All In movie poster

Step Up All In (2014)

Rated PG-13 for some language and suggestive material

112 minutes

Ryan Guzman as Sean

Briana Evigan as Andie

Adam G. Sevani as Moose

Misha Gabriel as Eddy

Stephen Boss as Jason

Izabella Miko as Alexa

  • John Swetnam

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Movie Review | 'Step Up 3D'

Happy Feet Waging Hip-Hop Battles

step up movie essay

By Mike Hale

  • Aug. 5, 2010

Partway through “Step Up 3D” there’s a number unlike anything else in the movie. Set to a remix of Fred Astaire’s version of “I Won’t Dance,” blaring from an ice cream truck’s loudspeaker, it’s the film’s most conspicuous attempt to ride Astaire’s coattails and is its only memorable dance. That’s not because of the choreography, which is ho-hum, but because for a few moments the dancing helps tell the story, taking the tentative romance of Moose (Adam G. Sevani) and Camille (Alyson Stoner) a few steps further.

The rest of the film is business as usual, which means that every 20 minutes or so it grinds to a halt for another overproduced dance-crew routine. The dancers may be skilled, but their work has no meaning in terms of the story — it’s pure spectacle, and numbingly repetitive spectacle at that. (Sometimes the outcome of a “battle” matters to the plot, but the winners are always preordained.)

For real excitement and emotion you’d be better off watching “America’s Best Dance Crew” on MTV.com, where there’s less corny dialogue and hokey contrivance to get in the way of the moves.

Jon M. Chu, who directed “Step Up 2: The Streets,” and the writers Amy Andelson and Emily Meyer have moved the story to New York from Baltimore, the setting of the first two films in the series. Camille, a character in the original “Step Up,” and Moose, from “Step Up 2,” arrive in New York for college and are swept into the film’s fairy-tale world of warring hip-hop dance crews and vast downtown lofts, a vision seemingly stitched together from “Wild Style,” “Babes in Arms” (“Let’s put on a show!”) and 1940s boxing movies.

The perfunctory narrative, involving the central crew’s efforts to save its sprawling studio-club-crash pad, is just an excuse for a series of dance showdowns; it functions less as a story than as a catalog of references meant to interest a young audience: mixed martial arts, parkour, X-games, Red Hook, Chinatown, D.I.Y. filmmaking. It doesn’t demand much of the mostly anonymous cast; Mr. Sevani, who looks and sounds just the slightest bit like a young, white Michael Jackson, has the most distinctive presence among the leads, but there doesn’t appear to have been anyone around to help him shape a real character.

In fairness, a lot of the filmmakers’ attention probably went to shooting the movie in 3-D (no after-the-fact conversion here), and the effect is unusually natural-looking and unobtrusive. Dancing, with its bodies moving behind and around other bodies, is a good fit for 3-D, though especially robotic movement still looks pasted on the screen. New Yorkers may be impressed by the scenes in which Washington Square Park, the East River bridges and the Grand Central Terminal concourse serve as backdrops — it really does feel just the tiniest bit as if you were there.

“Step Up 3D” is rated PG-13 (Parents strongly cautioned). It has the occasional naughty word.

Opens on Friday nationwide.

Directed by Jon M. Chu; written by Amy Andelson and Emily Meyer, based on characters created by Duane Adler; director of photography, Ken Seng; edited by Andrew Marcus; choreography by Jamal Sims, Nadine Ruffin, Dave Scott, Richmond Talauega and Anthony Talauega; production designer, Devorah Herbert; costumes by Kurt & Bart; produced by Patrick Wachsberger, Erik Feig, Adam Shankman and Jennifer Gibgot; released by Touchstone Pictures/Summit Entertainment. Running time: 1 hour 47 minutes.

WITH: Rick Malambri (Luke), Adam G. Sevani (Moose), Sharni Vinson (Natalie), Alyson Stoner (Camille), Keith Stallworth (Jacob), Kendra Andrews (Anala), Stephen Boss (Jason) and Joe Slaughter (Julien).

Stepping Into the World of Dance

As Harlem Stage’s E-Moves dance series turns 25, Bill T. Jones and other major choreographers discuss its impact on Black dance  in New York.

“We the People,” Jamar Roberts’s first dance for the Martha Graham Dance Company, finds the rage and resistance  hidden in an upbeat score by Rhiannon Giddens.

In “Nail Biter,” a New York City premiere, the exacting choreographer Beth Gill explores her ballet roots  and how to be in her body now.

The choreographer Emma Portner, who has spent her career mixing genres and disciplines , comes to ballet with an eye on its sometimes calcified gender relations.

A childhood encounter with an American soldier in Iraq led Hussein Smko to become a dancer. Now the artist performs on New York stages .

“Deep River” is in many ways an apt title for a dance work by Alonzo King, a choreographer fixated on flow .

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