The latest movie in the Step Up franchise aims for a politicized message behind all the flashy moves but it could do with a lot less plot and a lot more dancing. In Step Up Revolution the Miami dance group "The Mob" takes to the streets (and other random locations) to perform intricately choreographed routines with their own DJ a camera guy who uploads their videos to YouTube and a graffiti artist who leaves their signature behind. It takes at least that much effort just to get hipster New Yorkers to ride the subways without any pants on once a year; it's hard to believe that The Mob could pull off their elaborate schemes without getting caught but that's the magic of movies.
The Mob represents the more diverse working class side of Miami a young multiracial group of friends who create incredible works of art that disappear before they get shut down. One of the Mob's leaders Sean (Ryan Guzman) earnestly explains to newcomer Emily (Kathryn McCormick) that the group's reason is to give a voice to the voiceless or to be happy or to dance or something. It's not really clear but they have a lot of fun and look amazing doing it.
Once Sean and his friends find out that a greedy developer plans to raze their neighborhood to make way for another South Beach-style hotel monstrosity they have a reason to rally but until then they're just trying to win a cash prize by getting clicks on YouTube. The typical Step Up twist is that Emily is the developer's daughter. Mr. Anderson (Peter Gallagher) doesn't approve of Emily's love of dancing or other frippery and he certainly wouldn't approve of her hanging out with the people causing such mayhem in the streets of Miami.
Step Up Revolution biggest misstep is trying to give the movie more of a hook than the franchise's typical Romeo and Juliet-style love story and tap into "the Zeitgeist" (I swear that's from the studio-provided press notes) of flash mobs. The film could have cut out most of the plot and characters and still have a completely intact film insofar as the point of the film is its multimedia dance routines. The sort of productions The Mob pulls off are more akin to carefully planned art installations or music videos in terms of scope; it would have been better to at least make that somehow feasible in terms of the storyline. Yes we are here for a spectacle and we surely get a spectacle but it needs to have some roots in reality.
The dance scenes are fun sexy and occasionally a little sappy but overall quite enjoyable for people who enjoy "So You Think You Can Dance" type of shows. Kathryn McCormick and Stephen "tWitch" Boss both appeared on "SYTYCD" and their costar Misha Gabriel is a classically trained ballet dancer turned pro back-up dancer for folks like Beyoncé and Michael Jackson. Guzman doesn't have a dance background but he is an MMA fighter who obviously took his training very seriously. The entire outfit is pretty damn entertaining to be honest.
As far as the 3D goes it makes most of Miami look overcast and grey. The extra zings added in to make sure we get our money's worth like sand flicking out at us or a breakdancer whose foot seems to be aiming for our face only serves to distract from the real show at hand. There is also an awful lot of ramping and generally spazzy editing tricks that look cheap. The screenplay by Amanda Brody is definitely not its strong suit.
Step Up Revolution is the cinematic equivalent of a trashy beach novel. It's embarrassing to be caught actually enjoying it and you'll forget about it almost immediately but it's a decent way to spend a summer afternoon.
A family headed for a weekend in the backwoods is stranded when a wounded deer jumps in front of their car and sends them into a ditch. A posse of threatening rednecks appears and the ringleader Otis (John Speredakos) shoots the wounded deer point blank as the child in the car looks on. This is how the filmmakers establish Otis as the bad guy--and this will also create dramatic tension later between Otis and the Wendigo monster so you never quite know which one's actually terrorizing the family throughout the film. Once it's painfully clear who the bad guy is the trouble begins in earnest. When dad George mom Kim and son Miles finally arrive at the country house where they're staying they realize that someone's been shootin' up walls and windows. By now everyone in the theater knows it must be Otis. He certainly reappears soon enough--and now the big mean deer killer "knows where we live!" You bet he does Miles and he's watching your parents have sex right now. But that just makes him a pervert--not a psycho killer. Or does it? You'll spend the rest of this nightmare movie waiting to find out the answer to this and other compelling questions. Like what the hell is a Wendigo anyway?
When little Miles' head first appears in the back seat of the car you can't help but gasp. It's Dewey--oops Erik Per Sullivan--with hair and playing about three years younger than he looks like he really is. Yes Malcolm in the Middle fans your dear hamster-toting pal has finally hit the big screen. The filmmakers probably told him that he'd be the next Haley Joel Osment: "Wendigo is the next Sixth Sense. You just have to be in it!" Poor kid. It's not and he didn't. Still he does well enough with material that calls for him to do little other than look vacant and cry. Patricia Clarkson as Kim and Jake Weber as George are vacuous and their performances utterly forgettable. Of course the utter crappiness of the script doesn't help and since they have most of the lines they come off the worst.
There's a certain '80s charm to the wintry look of this movie which is probably more to director of photography Terry Stacey's (Spring Forward Trick) credit than to director Larry Fessenden's. Credit Fessenden who also wrote and edited and designed the Wendigo creature with well the Wendigo mostly. Because the sheer stupidity of this completely non-frightening creature pretty much nails exactly why this movie is as awful as it is. The Wendigo looks kind of like a deer standing on its hind legs with um hands. Yeah that's right. Hands. The creature might be the stuff of Miles' nightmares--there's certainly that possibility--but surely it should be at least a little scary. It's a joke as it's incarnated here. This is also the case with any number of scenes that are supposed to be scary but just aren't: at Otis' place the hangin' deer meet is supposed to spook ya; it doesn't. Dad and Miles chop wood with an axe? Come on. Chopping wood is only a frightening event if your daddy slices his leg open with a chain saw. When George falls off the back of a sled leaving Miles to torpedo down the hillside and later flee on foot as a smoke-thing (Wendigo spirit perhaps?) roils after him you're not frightened. You just want to cry "Run Dewey run!" The biggest joke is the ghostly Native American guy who appears at key moments (and once in a Quickie Mart) never speaks but manages to deliver voiceovers like "Wendigo is a mighty powerful spirit…part wind part tree part man part beast shape shifting." He also gives Dewey--oops Miles--the little carved statue that will play a key role in the plot's twist.