Fourths Of July: STEP UP REVOLUTION (2012)

Dancing movies tend to get a pretty bad rap. In fairness, their scripts are usually not the best written with basic storyline boiling down to this Family Guy joke:

People from different socioeconomic backgrounds bridge cultural divides to work together. The metaphor is pretty blatant with this unlikely duo coming together in a unified rhythm as partners. And that’s basically the story of most of the STEP UP movies (except, coincidentally or not, for the best installment—STEP UP: ALL IN). It’s some street dancer type paired up with a classically trained foil that at first seem to not get along BUT WAIT - dancing is the great uniter! And if these two kids can get along, no matter what the snooty parents and/or defiant gutter friends say, perhaps there’s hope for all of us as a society.

It’s easy to see why so many dance films are easily dismissed and mocked due to their belabored plotting and awkward dialogue that are always mired in tropes. But to do so is to miss out on some of the most impressive filmmaking and choreography out there. Many folks love action movies, with their insane camera set ups and blocking that requires precision timing and impeccable coordination, and are able to forgive those flicks of their cliches and generic narratives. That same mix of inept storytelling and dope physicality is on full display in the STEP UP films. The fourth entry, STEP UP REVOLUTION, adds a little dash of social commentary that falls flat but at least is attempted.

STEP UP REVOLUTION, directed by Scott Speer (predominantly known for his music video work), concerns an informal dance troupe in Miami known as “The Mob” who are trying to win a contest to get the most views on a website and get lots of money. They do this by staging elaborate flash mobs that disrupt the city and incorporate lavish moves and even some dramatic graffiti. Led by Sean (Ryan Guzman), The Mob is seemingly made up of dozens of people so that whole cash prize seems like it’ll be poorly distributed amongst them. Many of The Mob work at an upscale hotel which is under the new management of Mr. Anderson (Peter Gallagher), an uptight rich square who also has eyes on developing low-income neighborhoods into more hotels and other posh spaces.

Sean happens to cross gyrating paths with Emily (Kathryn McCormick). She’s able to keep up with The Mob’s leader’s sweet moves on the dance floor, but can’t seem to get out of her own head while practicing to join a prestigious Miami dance company.

Oh, and it should go without saying that Emily is Mr. Anderson’s daughter. She eventually joins the avant-garde Mob, but redirects them to use their stunt performances to protest her father’s encroachment. Trust is broken, misunderstandings lead to third act distance, and then there’s a ridiculously spectacular massive performance at the end that somehow undoes all of the contracts and plans for this new construction and real estate venture. The legalities of everything are hazy at best. But what matters is that dancing not only saves the neighborhood, but it also saves relationships.

If all that sounds glib, it’s because the plot is probably the weakest link of STEP UP REVOLUTION. It’s essentially most dance films (including the three previous STEP UP entries), but with the attempt at social relevance of BREAKIN’ 2: ELECTRIC BOOGALOO and THE FORBIDDEN DANCE where outsider terpsichoreans are able to change hearts and minds through their art form. But here’s the thing…STEP UP REVOLUTION almost pulls off that insane idea.

That’s because the dance sequences are legitimately awesome. While the size of The Mob makes the prize money moot, it does lead to dope formations where there are dozens of moving parts that work in syncopation to create dazzling visuals. Like the final fight of THE PROTECTOR with Tony Jaa cutting through wave after wave of opponents, the choreography reveals an innovative vision and precise execution that is augmented by sharp cinematography. True, The Mob performances would require people to be in the exact same spot as the camera in order to actually see all of these the right way—and not just appear like a couple of dudes flailing about—but that’s part of the fun of STEP UP REVOLUTION is terrific artistry colliding with the patently absurd.

Choreographers Chuck Maldonado, Christopher Scott, Jamal Sims, and Travis Wall make the most of the interim dance sequences. Meanwhile the awkward script by Amanda Brody provides plenty of unintentional laughs and groans. It’s a great mash-up where you can make fun of the obvious plot contrivances and stilted dialogue, but then be transfixed by the beautiful movements on screen.

So yes, it’s easy to dismiss STEP UP REVOLUTION. And from a certain angle, audiences would be right to do so because of its narrative retreads and eye rolling monologues. But viewers would miss out on some amazing spectacle by not checking out this film. And it’s hard not to have fun with the janky screenplay—like when the revolutionary dance troupe gladly accepts an offer from Nike with no questions asked. STEP UP REVOLUTION proves that fourth installments of franchises can still be good, if only in defiance of themselves.