StreetDance 2


No EuroMillions here…

The charm of the first StreetDance surely lay in its defiantly British take on the Stomp The Yard/ Step Up sub-genre.

So it seems both bizarre and self-defeating that its follow-up – directed, as before, by pop-promo duo Max Giwa and Dania Pasquini – should feature an American hero (Will Young clone Falk Hentschel) gathering a pan-European “crew” for a Paris “battle” he hopes to win with a “Latin-street dance fusion”.

Yes, former Britain’s Got Talent victor George Sampson is back in his baseball cap as resident artful dodger Eddie, while our own Tom Conti gets to recycle the same vaguely Mediterranean accent he used in Shirley Valentine as the protective bartender uncle of sultry female lead Sofia Boutella.

Given the Eurozone debt crisis, however, tailoring the movie for a continental audience looks spectacularly ill-timed, as does one girl hoofer’s decision to model herself on the late Amy Winehouse. Of course, those who helped this film’s predecessor crunk its way to more than £11m two years ago won’t be bothered.

All they’ll care about is the young cast’s inventive exertions that rarely fail to impress with their corporeal contortions and gymnastic dexterity. The problem is it’s the co-directors themselves who appear the most bowled over, judging by their tiresome penchant for isolating individual motions in pace-flagging slo-mo.

Still, it’s not half as tedious as Hentschel’s monotonous voiceover, a pointless embellishment in a movie whose slender story could be written on the back of a sweatband.

We can’t say the 3D makes much of an impact either, apart from one dynamic face-off with BGT runners-up Flawless and a thunderous climax in that big Coliseum next to the Eiffel Tower (you know the one).

Most of the time, though, you sense Max and Dania are struggling to find ways to use it. Why else would they have their multi-national ensemble have an impromptu pillow fight in their hostel bedroom?


The homegrown appeal of StreetDance gets lost in a sequel with one foot across the pond, the other over the channel. At least the writer’s English.

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User Reviews

    • FBSHarrigan

      Mar 23rd 2012, 2:57 Dance movies are a phenomena that have resurfaced in recent years. Breakin' was made during a time when this was a new fresh idea. It was about rebelling against social restrictions and finding a new way to express oneself. While it was silly even in the 1980s, it at least still had some cultural relevance. That era of youth in revolt and breaking racial practice is long over. This is not to say that there is not still social restrictions imposed on young people, but people have since become less combative. In the 1980s it was still sort of a big deal to combine classical and street dancing styles and for people of different ethnic backgrounds to dance with each other. It has now become about showcasing the dance moves, without the rebellious attitude, which frankly leaves these types of movies hollow. The 3D is simply another gimmick to make extra money. The best way to describe movies like this is pointless.

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