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Bring It On (2000)

 -  Comedy | Sport  -  25 August 2000 (USA)
5.9
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Ratings: 5.9/10 from 60,738 users   Metascore: 52/100
Reviews: 379 user | 136 critic | 31 from Metacritic.com

A champion high school cheerleading squad discovers its previous captain stole all their best routines from an inner-city school and must scramble to compete at this year's championships.

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Title: Bring It On (2000)

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Cast

Cast overview, first billed only:
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Kasey (as Rini Bell)
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Jan
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Les
Shamari Fears ...
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Brandi Williams ...
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Storyline

The Toro cheerleading squad from Rancho Carne High School in San Diego has got spirit, spunk, sass and a killer routine that's sure to land them the national championship trophy for the sixth year in a row. But for newly-elected team captain Torrance, the Toros' road to total cheer glory takes a shady turn when she discovers that their perfectly-choreographed routines were in fact stolen from the Clovers, a hip-hop squad from East Compton, by the Toro's former captain. While the Toros scramble to come up with a new routine, the Clovers, led by squad captain Isis have their own problems - coming up with enough money to cover their travel expenses to the championships. With time running out and the pressure mounting, both captains drive their squads to the point of exhaustion: Torrance, hell bent on saving the Toros' reputation, and Isis more determined than ever to see that the Clovers finally get the recognition that they deserve. But only one team can bring home the title, so may the... Written by <BriRyeMuls@aol.com>

Plot Summary | Plot Synopsis

Taglines:

Winning isn't Everything -- It's the Only Thing See more »

Genres:

Comedy | Sport

Motion Picture Rating (MPAA)

Rated PG-13 for sex-related material and language | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

25 August 2000 (USA)  »

Also Known As:

Cheer Fever  »

Box Office

Budget:

$10,000,000 (estimated)

Opening Weekend:

£272,848 (UK) (20 October 2000)

Gross:

£1,704,786 (UK) (12 January 2001)
 »

Company Credits

Production Co:

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Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

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Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

During the filming of the scene when Torrance, Missy, Jan and Les carpool to a football game, a driver, angry that the film's motorcade was making him late for dinner, attempted to drive the camera truck off the road. It appears the character of Les is just an overly cautious driver who keeps checking his side mirrors. Huntley Ritter is really watching Mr. Road Rage get pulled over by the Highway Patrol. See more »

Goofs

When Leslie is using his dad's camera at the car wash, Torrance's hair is wet. When Cliff comes, her hair is dry and styled. See more »

Quotes

Kasey: Courtney'll get captain. The guys like touching her butt.
Darcy: Yeah, she's got a lot to hang on to. What's the plural for 'butt'? On one person, I mean.
Carver: She puts the "ass" in "massive".
Darcy: You put the "lewd" in "deluded".
See more »

Crazy Credits

Peyton Reed plays the mime and is credited as Silencio Por Favor, which is Spanish for "Silence Please". See more »

Connections

Referenced in The O.C.: The Anger Management (2005) See more »

Soundtracks

Slang Dat Bottom
Written by Kenneth Terry
Performed by Devastator X
Courtesy of Prison of Rhythms Entertainment Group
See more »

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User Reviews

 
Fresh, intelligent, fiercely self-aware comedy.
6 February 2001 | by (dublin, ireland) – See all my reviews

This delightful comedy uses its ostensible theme of cheerleading rivalry to comment on its own genre, the teen movie. Given a genuinely exciting reinvention by 'Clueless', and reaching a peak with the likes of 'American Pie' and '10 Things I hate about you', the genre is in danger, as all successful genres are, of exchanging its wit, visual exuberance, engaging playing and agreeable sentiment for cash-hungry formulae and all-round laziness.

'Bring it on' falls into neither of these traps, but is aware that its genre is exhausting itself, and raises a number of pertinent issues. do filmmakers, like the Toro cheerleaders, continue their success by ripping off others' tricks? Is it possible to be original any more, or is the best we can hope for a clever spin on older, wider sources (this, of course, applies to cinema and all art in general)? Most pertinent, and 'Road Block' had already touched on this, is it time we jettisoned the toothy, white, middle-class young, and their oh-so-harrowing traumas, and allow a more representative teen demographic into the tacitly racist genre?

'Bring it on' may not entirely escape this last accusation - the black cheerleaders have no real humanity of their own, we are not given the same insight into their backgrounds and personalities as the white girls, beyond catch-all under-privilege. They are a mirror in which the whites can examine their complacency or flaws and correct them - literally so in many scenes, where the whites 'reflect' the blacks' movements, and the latter distort them in return, thereby commenting on them.

However, this touchy racial subject matter has a major benefit on the narrative arc. The plot is the old stand-by: a team of underdogs against the odds, triumph against circumstances and expectations. This would be tiresomely formulaic, except there are two teams in the film with equal claims on our attention and sympathies - it would be unthinkable for a Hollywood film today to have poor black people lose against pampered whites, but every stylistic decision - the humanising of characters; the rites of passage and socialising-of-misfits narrative; screen-time etc. - favours these whites. This creates a genuine tension, added to little asides (such as Torrence's brother's T-shirt, 'Cheerleading = Death') that make a familiar narrative interesting, problematic and unpredictable.

This is not to deny the familiar pleasures of the genre - the beautiful, clothes-shy young stars (the film gets to leer and satirise such leering!); the witty dialogue and bitchiness; the screenplay sharp about traditional issues of power and community; revelatory, stylised dreams and memories; the unforced energy. 'Bring it on' is a rare instance in the last few decades of a musical, and the various cheerleading routines are exhilerating and inventive, revealing to many a hitherto hidden purpose of a much maligned group, while still retaining the right to tongue-hollow that cheek. (AND a Shakespearean finale, where the actors come back after the curtain, and show us it was all play).


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