A fresh slate of young performers
combined with
energetically staged and photographed sequences that
convey the cathartic joy of dance easily outweigh some of the more
predictable rhythms of formulaic storytelling in
Step Up 2 the
Streets, a fun, flirty and engaging teen drama and stand-alone
sequel that serves as the latest entry in a line of pan-ethnic dance
films pitched chiefly at teens and big-city twentysomethings.
In August of 2006,
Step Up, the
$12 million directorial debut of choreographer turned
27 Dresses helmer Anne Fletcher, used
a
deft, direct-appeal marketing campaign that included a MySpace.com
contest which let users submit their own dance videos to ring up a
surprising $20.6 opening weekend, part of a $114 million worldwide
gross that included just under $49 million in international receipts.
The movie was just the latest underdog hit in a consistently viable
new subgenre; 2001’s
Save the Last Dance kickstarted the
nascent trend, catching fire with a $23 million domestic opening en
route to over $130 million in cumulative receipts. The more
aggressively urbanized
You Got Served danced its way to $40
million Stateside in 2004, while
Stomp the Yard opened to $21
million en route to a $61 million domestic gross in last year's first
quarter.
Delivering a gender inversion of the
same loose, wrong-side-of-the-tracks narrative of the first film,
Step Up 2 the Streets'
story centers on rebellious, teenage street dancer Andie (Briana
Evigan, above right), a Baltimore-bred orphan on the brink of being sent by her
deceased mother's friend to live with her aunt in Texas — a fate
akin to permanent exile. Given the opportunity of an audition at
the
prestigious but achingly proper Maryland School of the Arts, the
street-wise Andie improbably wins a spot. Her unique talent, as well
as her attractiveness, catches the attention of the school's hottest
dancer and reigning big man on campus, Chase (Robert Hoffman, above left), whose
older brother Blake (Will Kemp), a legendary ballet performer in his
own right, has returned to lead the school and oversee its artistic
re-shaping. Andie is caught up between two worlds, and the different
rules and expectations that go with each. So when her old friends
abandon her,
she joins forces with Chase and a new posse of classmate
outcasts and unconventional types to form a crew to compete in
Baltimore's big underground dance battle, The Streets.
One of the movie's great successes is
the sense of scale apportioned its conflicts. Like, interestingly enough, Curtis Hanson's
8
Mile,
Step Up 2 the Streets assays urban tension
and class/race conflict without needlessly getting into gunplay and
all the distasteful and/or stereotypically overwrought chest-thumping
that often stems from that. Just as that former film — a slightly
re-contextualized biopic about rapper Eminem's rise from gritty
Detroit — featured
fisticuffs and a scene with paintball guns which
served to define the ceiling of acceptable violence within the
characters' world, so too does
Step Up 2 the Streets. When
Chase and Andie's new crew crosses her old gang with a prank they
post on the Internet, retribution takes the form of vandalism, a
"simple" but brief assault by fist and, inevitably,
feverish dancing competition, all in equal measure. This careful
modulation lends credence to the notion of dance as an expression of
(adolescent, not just underclass) frustration, an important
underpinning of the story.
Step Up 2 the Streets is the
feature directorial debut of USC Film School graduate Jon Chu, and
he
locates the exuberance and thrill of personal expression in capturing
its dance sequences. If there's a knock, it's that several of these
dance-feud and performance set pieces — particularly a climactic
group showcase that moves from a crowded, warehouse-style dance club
outdoors, into the rain — come across as too tightly choreographed
to be truly improvised, and thus undercut some of the loose-limbed
energy present in other sequences.
A lot of the screenplay's dialogue, by
writers Tori Ann Johnson and Karen Barna, is of the boilerplate
variety, but
the cast evidences a warm rapport that masks much of its
awkwardness. Both Evigan and Hoffman, in particular, make strong,
winning impressions. It certainly helps that Chu places an obvious
value on low-key, natural charm.
By allowing the characters'
personalities to come forward a bit more incrementally than usual for
such teen-pitched product, one's identification with their plights,
respective and shared, evolves more naturally. Only a few scenes of
artificial headbutting between Andie and her surrogate guardian ring
false or strident.
For the full, original review, from Screen International, click here.
