The format of So You Think You Can Dance has evolved considerably over the past ten seasons. But without question, the best addition to the show has been the incorporation of the All Stars into the Top Ten. Once the field has been whittled down to five guys and five girls, the producers bring back favorites from past seasons to partner the contestants. While almost anyone who makes it past the dreaded Vegas Week is up to the task, we have our favorites. These are the All Stars who we hope will keep coming back, both to remind us of their crazy talent and to help propel their partners into the finale.
It's always a joy to see Alex Wong back on the SYTYCD stage, not just because he's a versatile, athletic dancer, but also because his own career as a contestant was cut short. What a heartbreak it was to see fan favorite Alex brought down by an injury in season seven, especially after that killer NappyTabs routine with Twitch. Fortunately, the dreaded Achilles has healed and Alex is back leaping across the stage with today's hopefuls.
Season four ballroom standout Chelsie Hightower graduated to rival competition show Dancing with the Stars. But to us, she'll always belong right next to Cat, receiving her accolades from Nigel and Mary. She's a little powerhouse and can make any guy look like a lift expert.
Actual Disney Prince Robert looks like the groom on top of a wedding cake, but he's not just a pretty face. The contemporary dancer finished third in season seven. This season, choreographer Travis Wall paired Robert, who recently overcame serious injury, with fellow suvivor Tucker Knox for a breathtaking piece that certainly helped keep Tucker in the competition.
Has there ever been a more reliable contemporary female dancer than Allison Holker? The season two star never fails to impress. Every time she's on stage with a contestant, the judges look like they would practically beg her to come back and compete again. She's also one half of the first confirmed All Star love connection — she's engaged to hip-hop heavyweight Twitch.
For a contestant, hip-hop is the most dangerous style to draw and be paired with an All Star. The All Star can't carry the contestant here. In fact, sometimes he can make him look downright uncoordinated, and definitely uncool. Season four's Twitch is guilty of making his partner look bad on numerous occasions, but how can we be mad at him? Hip hop will continue to separate the hopefuls from the champions in an attempt to find out who is the most "bucc."
With her babydoll face and pixie haircut, Melanie Moore is the America's Sweetheart of So You Think You Can Dance. She took the season eight crown and barely broke a sweat. The judges continue to fawn over her, and any guy who draws her is sure to make it through to the next week.
We got to know Travis Wall as a contemporary contestant in season two. Since then, he's redefined himself as one of the show's no-fail choreographers and has a handful of Emmy nominations to show for it. Luckily this year, we got the best of both sides of Travis when he choreographed and partnered contestant Amy Yakima in a smoldering routine to Chris Isaak's "Wicked Game."
The delighfully weird Mark Kanemura pirouetted right off of season four and into the arms of Mother Monster when Lady Gaga hired him as one of her dancers. This season, he came back as an All Star again and rocked the judges' socks with the quirky jazz routine he choreographed for his partner Jenna Johnson.
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For the past 11 years--his whole life--Evan (Freddie Highmore) has been an orphan but that’s about to change along with his name. Evan has "always heard the music " even when it’s not playing and one day he decides to follow it in hopes of finding the parents he’s never met and whose musical genes he has inherited. It takes him out of the orphanage he has always despised and into Manhattan where 11 years prior he was conceived. As we learn via flashback his parents both young musicians at the time were an unlikely match: Lyla (Keri Russell) was a shy dainty cellist while Louis (Jonathan Rhys Meyers) was a brash Irish rocker. Their mutual love for music ultimately brought them together on a rooftop for just one night of which Evan turned out to be the product. But when Evan is born prematurely Lyla’s father (William Sadler) does what he thinks is right for her career and gives the newborn up for adoption without her knowledge. Lyla and Louis have since reluctantly given up music but Evan is about to pick up where they left off in New York City. While there he is discovered by a seemingly well-intentioned "manager" named Wizard (Robin Williams) who renames the prodigy August Rush. Before long Wizard is booking gigs in hopes of capitalizing financially while August hopes to use his music for a slightly nobler purpose: tracking down and reuniting his parents. Highmore (Charlie and the Chocolate) is as much a child-actor prodigy as August Rush is a musician; he’s truly in a class of his own. It’s not just that the British youngster seamlessly ditches his accent to play an American—better and more undetectably than many of his elders are able to do might I add—or that he’s able to pull off the musical aspect (he reportedly mastered the guitar and conducting for further authenticity) but rather that he advances the never-dormant story every step of the way. And it’s not every day that a teenager can handle being the centerpiece of a big Hollywood movie (see The Seeker et al.) but Highmore makes it a non-issue. Russell and Rhys Meyers meanwhile add a classy touch of adult to the story with their opposites-attract arc. Russell borders on too pristine and precious at times and Rhys Meyers is written as the stereotype of Irishmen but they make you believe in the commonality of music as a matchmaker. Williams however misfires with his portrayal of the somewhat ambiguous Wizard. It is unclear whether he is a reincarnated pirate or just a well-traveled New Yorker and Williams plays him with that lack of clarity but kids will laugh nonetheless when the actor gets loud and hyper. Terrence Howard as a concerned social worker and Mykelti Williamson as a pastor turn in solid supporting performances while young Jamia Simone Nash may incite standing ovations with her singing. The concept of August Rush is most certainly aimed towards those too young to discern between realism and fantasy but at least director Kirsten Sheridan (Jim’s daughter) doesn’t patronize kid viewers the way most preteen movies do. While the young director doesn’t exactly steer clear of clichés and sap she makes a concerted effort to place the film’s music and sheer energy at the forefront. Sheridan also does the best with what she’s given which is a highly predictable occasionally preachy script—with a tendency to give Highmore cringe-worthy voiceovers (i.e. “Open yourself up to the music around you”)—written by Nick Castle (Hook which August Rush often resembles) James V. Hart (The Last Mimzy) and Paul Castro. Just as impressive as the film’s omnipresent music—both “found” (basketball dribbles etc.) and orchestrated—is the look of a somewhat magical Manhattan that is as fun for kids as it is mildly scary. All in all Sheridan’s first big movie is a different if slightly uneven kind of kids flick but not so different that the target audience won’t dance along.
When eccentric writer/director John Waters made the subversive but colorful Hairspray in 1988—about a plus-sized girl and her dreams to dance as she breaks taboos in the early ‘60s—he probably thought it would be chalked up as another of his cult favorites. But here we are reviewing the latest Hairspray incarnation a movie version of the smash hit Broadway musical based on the 1988 offbeat classic. Funny how things work. The story is pretty much the same: The bubbly Tracy Turnblad (Nikki Blonsky) a big girl with big hair and an even bigger heart wants to dance on Baltimore’s TV dance show The Corny Collins Show. Her mother Edna (Travolta) isn’t too keen on her daughter’s aspirations only because she doesn’t want to see Tracy hurt. But against all odds Tracy wows them on and off the TV screen squashing the reigning princess Amber Von Tussle (Brittany Snow) finding love with the local hunk Link (Zac Efron)—and fighting for racial equality on the hippest dance party on TV. Tracy is the cornerstone to making Hairspray zing—and every actress who has played her has nailed it in her own way. Ricki Lake gave us a good start as the original; Marissa Jaret Winokur won a Tony playing her on Broadway. Now we have brilliant newcomer Nikki Blonsky a former ice cream parlor employee who beat out several hundred girls to win the role. Her happy-go-lucky Tracy quite literally lights up the screen every time she appears and you find yourself grinning like a fool the whole time she is shimmying and shaking. Let’s hope she isn’t just a one-trick pony. The supporting cast is also very appealing. Michelle Pfeiffer who once again gets to use those lovely pipes of hers is perfectly unctuous as Velma Von Tussle Amber’s scheming mother and the TV station manager. Queen Latifah adds her certain joie de vivre as Motormouth Maybelle the host of Corny Collins’ “Negro Day.” Also good are Amanda Bynes as Tracy’s lollypop-eating best friend Penny Pingleton and Elijah Kelley as the groovin’ Seaweed Penny’s forbidden love. The one drawback is Travolta as the oversized Edna. He does a fair job as the caring mom who is reticent to let her daughter go out into the big bad world. We can even see the old Travolta we know and love come alive when Edna dances. But because the actor simply looks so very wrong in latex and lipstick it takes away from the performance. No one can really surpass the late Divine the original Hairspray’s Turnblad matriarch who did it au naturel. Directing a movie like Hairspray is basically a no-brainer and choosing Adam Shankman to helm is as good a choice as anyone else. He is certainly not known for his cinematic genius having directed fluff such as Cheaper by the Dozen 2 and The Pacifier but he understands the bubblegum appeal of a bee-bopping musical. Fueled by catchy tunes from the Broadway show plus a few new ones created just for the movie Shankman orchestrates the big song and dance numbers—of which there are plenty—in such a way to get you moving in your seat every time. He also frames his talent in their more personal character-driven songs with a steady hand. I just wonder what John Waters would have done with it. Maybe a little more dog poop? In any event forget about Chicago and Dreamgirls--Hairspray is the perfect popcorn movie musical that will get everyone dancing and singing the way Grease did a generation ago.
Dogtown centers on three teenagers in the 1970s--Jay Adams (Emile Hirsch) Stacy Peralta (John Robinson) and Tony Alva (Victor Rasuk)--who just want to ride. At first it's waves. Living in "Dogtown " a tough and gritty area in Venice Calif. these guys do everything they can to get in with the Zephyr surfers lead by the charismatic owner of the Zephyr surf shop Skip Engblom (Heath Ledger). But the boys are soon transferring their aggressive wave-riding moves to the concrete turning empty pools into arenas of wild beautiful athleticism and revolutionizing a new style of skateboarding. Skip recognizes great money-making potential when he sees it and takes these freestyle wizards on urethane wheels out on the road to show off their skills dubbing them the Z-Boys. The skating world goes nuts. Conventional competitors don't know what to make of their "extreme" ways. Girls are wild for them. And promoters see dollar signs wanting to grab a piece of the action. But what started out as fun way to blow off steam soon turns into big business. Can the friendship between this tightly knit trio survive inflating out of control egos and fast-paced famous lifestyles? Dude that's a tough one to call.
What better way to make a movie about three hot California skateboarders then by casting three hot young male leads to play them. As Tony Alva and Stacy Peralta--the two talented skateboarders on the opposite ends of the spectrum--newcomers Rasuk (Raising Victor Vargas) and Robinson (Elephant) aptly bring sincerity to their portrayals. As the fiery Alva the wild-haired Rasuk is full of bravado taking to the jet-setting life with ease and ultimately becoming the more well-known name. The soft-spoken Robinson plays the easy-going Peralta with quiet determination proving he doesn't have to showboat in order to show how good he is. But it's the more seasoned Hirsch (The Girl Next Door) playing the gifted but ultimately screwed-up Jay Adams who has the harder acting job. As the Z-Boy with probably the rawest talent but nevertheless gives up his chance for fame Hirsch handles Adams' conflicted emotions well. Ledger too does a nice job as Skip Engblom the boys' "mentor" who introduces them to a whole new world rides a great meal ticket for awhile--and then loses it all when the boys move on to bigger and better things. Sorry Skip.
Coming off the heels of his award-winning 2001 documentary Dogtown and Z-Boys writer Stacy Peralta decided he wasn't quite done telling his Z-Boy story trying his hand at dramatizing the whole experience. This time around he elicits the help of director Catherine Hardwicke whose disturbing indie Thirteen proved she can get underneath a teenager's skin. Smart move. Her documentary style of filmmaking with that grainy handheld feel fits the Lords of Dogtown milieu perfectly. The camera chases after the boys as they skate sneak onto private property to surf empty pools and rock like rock stars. Peralta also calls upon his old buddies to help out including the now world-renowned skating champion Tony Alva who choreographs many of the stunts and apparently teaches the actors not only to skate but skate in true Z-Boy fashion. Maybe hardcore skateboarders will notice the errors but for a novice like me it is a fun ride. The only real problem with Dogtown is Peralta's greenhorn attempts at fleshing out a drama. As a documentary the Z-Boys experience is exhilarating as it follows these real-life mavericks' efforts to take skateboarding to a whole new extreme. But as a full-blown feature film it's a little harder to perpetuate the momentum.
Ape descendant Arthur Dent (Martin Freeman) gets yanked from the Earth by best friend and alien Ford Prefect (Mos Def) seconds before a Vogon constructor fleet destroys it to make way for a hyperspace expressway. Next thing he knows Arthur is aboard the Vogon ship reading the Hitchhiker's Guide to the Galaxy (voiced by Stephen Fry) and wondering where he might get some tea. But he and Ford are not in the clear: the Vogons (some of whom look like the nightmarish drawings of Ralph Steadman come to life in S&M leather) want to throw them into the vacuum of space right after they read some of the third worst poetry in the known universe. Luckily the spaceship Heart of Gold picks up the stranded hitchhikers in the nick of time. Stolen by the dim but groovy President of the Galaxy Zaphod Beeblebrox (Sam Rockwell) the ship has an Improbability Drive that causes certain mischief turning the stowaways into loveseats and later two missiles into a bowl of petunias and a sperm whale. Also onboard is doe-eyed Earth girl Tricia "Trillian" McMillan (Zooey Deschanel) who previously ditched Arthur at a costume party on Earth to satisfy her wanderlust with Zaphod. The crew then embarks on a quest to find the Ultimate Question to Life the Universe and Everything after supercomputer Deep Thought (voiced by Helen Mirren) found the answer: 42. On the run and without a home Arthur discovers that life's true meaning comes from the answers found within.
The slapstick antics and sharp dialogue evoke enough laughs to make one forget that the characters are rather one-note. Rockwell's Zaphod is a riot at first but the cheeky smile and devilish winks soon wear thin. Deschanel has little to work with playing Trillian though it's fun watching her wield a point-of-view gun on Zaphod. Mos Def mumbles some lines but does manage to act like someone from another planet. Freeman does an amiable job playing the fish-out-of-water Earthman but neglects to express the grief and bewilderment of someone who just lost his planet. Even John Malkovich as Humma Kavular--the spiritual leader of a cult awaiting the arrival of the Big Handkerchief--fails to make much of an impression in his brief appearance. Only Alan Rickman as the perpetually glum robot Marvin and Bill Nighy as the stammering planet designer Slartibartfast remain funny without becoming routine--though unfortunately Nighy only appears in the third act. A half-cocked romance between Arthur and Trillian is thrown in for good measure with the couple merely going through the motions.
Directed with considerable flair by first-timer Garth Jennings whose frantic visual style blends well with Adams' ironic wit the film looks as good as can be. CGI is used to display Adams' universe in ways never seen before: The massive concrete slabs of the Vogon fleet surrounding Earth the Heart of Gold tricked out in 1960's Formica kitsch the stark bureaucratic world of Vogosphere and the eye-popping factory floor on Magrathea are all vividly brought to life. Although the graphics of the Guide look more like Internet pop-up ads than stellar entries from the best-selling book in the galaxy the exposition from the Guide is clever and amusing though one should brush up on the material prior to viewing. Even with all the stunning visuals however the plot is still thin. Jennings and screenwriter Karey Kirkpatrick (Chicken Run) have trimmed the story--and witty banter--to its barest essentials leaving out some of the funnier bits to quicken the pace. Memorable exchanges--like the opening battle of wits between Arthur and Mr. Prosser--are reduced to a few meaningless lines while the always hinted-at love affair between Arthur and Trillian gets the full Hollywood treatment. In the past Adams who died of a heart attack in 2001 has allowed the Guide to change and progress with each incarnation so new additions--like the point-of-view gun and the cult of the Big Handkerchief--are welcomed. But the patchwork of wacky vignettes and neutered banter particularly between Arthur and Ford leave one yearning for something more meaningful.