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 jukebox musical is the epitome of reverse-engineered entertainment. Take a set of songs linked together by a common thread arrange them for Broadway belters and fill in the gaps with enough narrative to convince the audience they're not sitting through a large-scale cover band concert. Silly satisfying and familiar — the perfect combination for a crowd-pleaser. Rock of Ages the big screen adaptation of the hit stage musical manages to make the simplistic formula feel even lazier. Starting off like a full-on '80s movie spoof Rock of Ages quickly loses footing with a bombardment of overproduced tunes lip-synced by its celebrity cast. Simply put: it doesn't rock. At all.
The film opens with small town Kansas gal Sherrie Christian (Julianne Hough) hopping on a bus to make it big in Hollywood. There's a glimmer of hope as she duets Night Ranger's "Sister Christian" with a bus driver — maybe Rock of Ages really will be this fun and absurd. But when Sherrie arrives at The Bourbon Room the city's premiere rock club and only second to Disneyland as the least threatening place in L.A. the movie spins out of control. Sherrie quickly strikes up a relationship with bartender/aspiring musician Drew (Diego Boneta) is hired by club owner Dennis Dupree (Alec Baldwin) and his second-in-command Lonny (Russell Brand) and becomes entangled in the joint's big attempt to stay afloat: the legendary Stacee Jaxx's (Tom Cruise) last concert before going solo.
Sticking with Sherrie as she explores the crazy hair metal scene is fun but director Adam Shankman (Hairspray Bedtime Stories) and his team of writers insist on piling more and more stuff on to Rock of Ages shoulders. There's politician wife Patricia Whitmore (Catherine Zeta-Jones) and her campaign against The Bourbon Room. There's Rolling Stone reporter Constance Sack (Malin Åkerman) who hopes to land one more interview with Jaxx. There's Jaxx's manager Paul Gill (Paul Giamatti) who responds to the fading rock scene with ambitions of starting a boy band with Drew. Anything that can open the door for more songs — pointless as the plot points may be — Shankman throws into the shuffle. Unfortunately the ears can only take so much autotune.
The upside of the clunky script is some genuinely funny moments souped up by the comedic prowess of the supporting cast (a baboon named HeyMan throwing bottles at Giamatti Cruise singing "I Want to Know What Love Is" into Ackerman's butt). Hough and Boneta have nothing to contribute to Rock of Ages hammy leads with no material who pale in comparison to their '80s romantic predecessors. But the rest of the crew throw up sign of the horns and try their best to crank up the craziness Baldwin and Brand making a case for a spin-off with their wacky rapport. A musical number in which the duo finally realizes their passion for one another would have made a great Funny or Die video but padded with the filler of Rock of Ages it has no room to shine. Even Cruise who kills whenever he's musing full rock star mode struggles to make the paper thin Stacee Jaxx work in his musical moments. The recordings are flat and lifeless automatically putting a strain on the performers.
The music and the movies of the '80s share a similar aesthetic. They're over-the-top they're hot and sweaty and they're about not giving a damn. Raw fun. Rock of Ages fails to capture that feel in both visuals and song blowing out the flame of every lighter-waving moment with its stale recreation. For an energetic entertaining two hours of classic rock tunes stick to karaoke.