Jumping continents and crossing cultures, "Planet B-Boy" looks at the history of breakdancing and its vibrant resurgence in urban cultures around the world.

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Cast

Credited cast:
Mr. Freeze ...
Mr. Freeze
Luis Mateo ...
Trac2
Skwall ...
Himself
Prince Ken Swift ...
Ken Swift
...
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Knucklehead Zoo ...
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Storyline

Think breakdancing died in the eighties? Think again. PLANET B-BOY is a feature-length, theatrical documentary that re-discovers one of the most incredible dance phenomena the world has ever seen. Originally known as "B-boying", breakdancing was an urban dance form that originated from the streets of New York City during the seventies. Along with Emceeing, Graffiti and DJing, B-boying served as one of the crucial elements in the birth of hip-hop culture in America. Through the help of movies like Flashdance, Breakin', and Beatstreet, breakdancing took the country by storm, and teenagers across America were spinning on their backs doing "windmills" and training their bodies to "pop and lock." Like most dance fads, however, breakdancing eventually faded into the annals of pop culture history. Three decades later, B-boying is back in full force and has evolved into an art form, reaching a level never seen before. The basic moves from the early eighties have developed into a highly ... Written by Benson Lee

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Breakdancing has evolved


Certificate:

Unrated | See all certifications »

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Release Date:

21 March 2008 (USA)  »

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1.78 : 1
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Did You Know?

Connections

Features Graffiti Rock (1984) See more »

Soundtracks

Planet B-Boy Theme Song
Music by Woody Pak
Lyrics by IAMISEE
Performed by Mowg, Woody Pak, and IAMSEE
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User Reviews

 
Amazing talent and subject hacked apart by awful editing
4 March 2009 | by (Sebastopol, California) – See all my reviews

This should have been as wonderful as Red Hot Ballroom or nearly as excellent as 8 Mile. BUT, the editor and cameraman couldn't control their egos enough to let the super talented B Boys do their thing. Not once are we allowed to see more than a few seconds of each number -- never a whole performance -- even though one of the three important prizes is awarded for choreography. We are never allowed to see the talent from the audience's point of view -- even though we see the audience reaction way too much. Why can't editors and cameramen understand that dance performances are choreographed to be viewed by an audience, and we do not need nor want the film crew to reinterpret the choreography nor hack up the visual impact and dramatic structure with camera tricks?


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