Being a teenager is tough, and no one knows this better than Ren McCormack, a city kid with a strong feeling for music. Ren's life changes when he moves to a small town where rock-n-roll and dancing are criminal activities. When Ren falls in love with the reverend's daughter, Ariel Moore, the music pauses and Ren needs to shape up or make dancing a legal activity once again.Written by
Craig Brewer: His boots are seen dancing in the opening credits when the words "A Craig Brewer Film" appears. See more »
When Rev. Moore goes to meet Ariel at Claude's, a cashier is seen calling Claude from the kitchen. At one cut, Rev. Moore is seen through a window, without Claude standing at the back of the room by the "Drink Coca-Cola" sign and the shutters closed. In the next cut, Claude is standing in front of the kitchen in a close-up shot. See more »
Rev. Shaw Moore:
*He* is testing us. Our Lord is testing us. Especially now, when we are consumed with despair. When we are asking our God why this had to happen. No parent should ever have to know the horror of burying their own child. And yet, five of Bomont's brightest have lost their lives. Among them, my only son... my boy, Bobby. We have other children to raise here in Bomont. And one day, they will no longer be in our embrace and in our care. They will belong to the world. A world filled ...
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The opening credits are in the same font/typeface as those for the original Footloose (1984), albeit a different color. See more »
Catch Hell Blues
Written by Jack White
Performed by The White Stripes
Courtesy of Beggars Banquet Records Ltd. and Warner Bros. Records Inc.
By arrangement with Warner Music Group Film & TV Licensing See more »
Suffers as much by miscasting as the original benefited by its casting
To the same extent Ava Gardner movies lingered on her face in the 1950's and Jessica Alba movies visually caressed her abdomen in 1990's movies so does this moving on the backside of Julianne Hough. Likely this has partially to do with Craig Brewer's personal interests and a lack of other interesting images to look at in a pointless remake of the Kevin Bacon "classic" (assuming you grew up in the 80's). The main drag on the film grows from the lack of a Kevin Bacon-level compelling talent among the cast. When Kenny Womald utters the iconic "let's dance" to the camera you could picture yourself opting to sit this one out instead. When Dennis Quaid as Ariel's father and town elder finally has his change of heart, it comes as no really emotional catharsis given Quaid's earnestness and track record as the good guy leading man. Now Randy Quaid would have made an interesting and likely challenging from a product standpoint casting choice. Julianne Hough plays Ariel as more sleazy than fun-loving and her dance moves do kind of make you agree to an extent with the Reverend. As always, Andie MacDowell brings her inexcusably flat line readings to a part that could have been cut from the film with little effect. Everyone else in the film comes across as the indistinguishable chorus line from a traveling company version of the Footloose Musical. Having said all that, the movie brings some entertaining visuals although it someone screws up the soundtrack; the version of "Holding Out for a Hero" used her is a sacrilege of the original Bonnie Tyler version of the Jim Steinman song. In short, see the original instead; although it wasn't very good either, the music was amazing.
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