6.2/10
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Leave It on the Floor (2011)

Not Rated | | Comedy, Drama, Musical | 3 August 2012 (UK)
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Set in the ballroom world originally memorialized by the documentary Paris Is Burning, Leave It on the Floor is an original musical set in the scene in Los Angeles 2011.

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Cast

Cast overview, first billed only:
...
Andre Myers ...
Phillip Evelyn ...
Princess Eminence (as Phillip Evelyn II)
Barbie-Q ...
Cameron Koa ...
James Alsop ...
Metra Dee ...
...
Hailie Weaver ...
D.J. Fatha Julz ...
Lady Red Couture ...
...
Daveione Williams ...
...
Koreyo Kreame ...
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Storyline

Our African-American hero , Brad is bullied by his dysfunctional mom; he flees his home and by chance tumbles down the rabbit-hole into the LA ball scene where he finds a ragtag new famiiy. With music by Beyonce music director, Kim Burse, screenplay and lyrics by Glenn Gaylord choreography by Beyonce dance master, Frank Gatson Jr. and eye-popping visuals and direction by Sheldon Larry, the film is an ode to the wild funky and heart-aching life of this amazing underground. Written by Sheldon Larry

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3 August 2012 (UK)  »

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2.35 : 1
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Did You Know?

Soundtracks

Black Love (Reprise)
Lyrics by Glenn Gaylord
Music by Kim Burse and Brittani Washington
Produced and Arranged by Kim Burse
Vocal Production by LeDon Smith and Sheldon Larry
Performed by CJ Emmons
Executive Produced by Sheldon Larry
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User Reviews

 
See It -- then talk about it!
4 June 2014 | by See all my reviews

At first glance, this is nothing more than a slight, upbeat story -- along the lines of the Step Up franchise -- of how pursuing one's artistic dream (music, dance, and drag, in this case) redeems everything. But there is both more—and less—going on in this film. Here, the filmmakers, both white men, set a love story in the midst of the ballroom scene in a poor section of Los Angeles. The mostly black, mostly trans kids of the House of Eminence live to "walk" the runways at competitions and dream of "taking home tens" and trophies. Leave It on the Floor depicts the poverty, homelessness, and marginality of its characters' lives but somehow imagines those conditions as having no impact on their existences; they've been thrown out of their homes and done time in prison; no one has a job. And yet they happily fall in and out of love, treat each other reasonably well, and live in a sort of idyll of sister/brotherhood. It's a Disney fantasy of poor queers of color; on the other hand, it's essentially the only film about poor queers of color. Deconstructing this flight of fancy will provide more insight into class, race, and gender than does the film itself; on the other hand, the characters are at peace with their queer, trans, outcast selves; they build friendships and families and fall in love. There's not much "realness," but there is a kind of pushing back against "realistic" stories of ruined, gritty, miserable black lives, and that's a provocative stance, the film's many weaknesses notwithstanding.


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