Sara joins Julliard in New York to fulfill her and her mother's dream of becoming the Prima ballerina of the school. She befriends her roommates, Zoe and Miles, who teach hip-hop classes. ... See full summary »
A tight-knit group of New York City street dancers, including Luke (Malambri) and Natalie (Vinson), team up with NYU freshman Moose (Sevani), and find themselves pitted against the world's best hip hop dancers in a high-stakes showdown that will change their lives forever. Written by
Walt Disney Pictures
This was the first film in the series to not feature either the Maryland School of the Arts, or the city of Baltimore. See more »
In the final dance scene when Natalie comes on to do her bit her navy blue top keeps switching from being scrunched up to not between shots. See more »
People dance because dance can change things. One move, can bring people together. One move, can make you believe like there's something more. One move, can set a whole generation free.
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At the beginning of the end credits there's a scene in which Jay Franco (aka J-Smooth) sits on a chair and performs an impressive catalog of finger tutting moves See more »
The dancing = impressive. Everything else = dreadful.
If you've seen one break-dance flick, then let's be frank, you've seen them all. The blue print is the same each and every time, lots of awesome dance sequences with gap-filling scenes of excruciating acting, non-existent plot and direlogue that wouldn't feel out of place in a Z-grade horror film. With those standards in mind, the most effective entries into this genre do two very simple things: maximise the eye-boggling dance routines and minimise the yawn-inducing guff that fills the rest of the runtime.
Step Up 3D only gets half of the above equation right. An unnecessary amount of time is wasted on boring dross like predictable plot twists and deep and meaningful (read: long and laughable) conversations about how profoundly dancing can affect people. Honestly, who cares? From the moment the main character tells his new BFF that "he's BFAB, born from a beatbox" in the first ten minutes, all further dialogue should've been ceased immediately. I'm serious, they should've let the music and moves do the talking for the remaining 90 minutes. That way our gag-reflex wouldn't have been tested by Vinson (ex-Home and Away star) and Malambri's acting.
When the bodies are twirling, contorting, flinging, jumping, smashing or moving like a robot the film unsurprisingly finds its legs. Choreographed with flair and panache, the set-pieces incorporate the 3D technology decently enough by having dancers approach the camera with fast, whippy hand movements, however the depth of the stage was employed more successfully by its British counterpart StreetDance 3D. Regardless, there are still a handful of entertaining dance-offs that impress on varying levels.
Replete with the freshest hip-hop tunes and sporadic inventiveness mainly in the form of illuminated costumes this trilogy-closer may tickle your fancy, but that is wholly reliant on whether you're BFAB or not.
2.5 out of 5 (1 - Rubbish, 2 - Ordinary, 3 - Good, 4 - Excellent, 5 - Classic)
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