Of course, Ryan Guzman’s portrayal of Sean is an exception. Instead, dance is the only connection between any two ‘Step Up’ films, which could easily work against them. These characters form a bridge between the movie and its sequels, along with being the emotional coefficient that the fans and audience connect to. Luckily for the ‘Step Up’ movies, this hasn’t been much of a problem.įinally, most of the franchises have one main protagonist or a core group of main characters.
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So if those few essential fields fail to reach the target even by a few inches, the entire movie falls flat. All the other departments, which are supposed to make or break a normal movie, such as the writing, direction, and acting take a back seat. Movie Preview: Life After College is a test that you can “Cha Cha Real Smooth” - apparently.Secondly, the entire franchise depends on the dance choreography and the cinematography. Editing and art direction are close runner-ups to those two departments.It’s a very popular, over-used screen plot app. “That’s ‘battle.’ You either get up or you GIVE up!”Īnd of course, there’s realizing the dude who dropped you needs to be dropped so that Luce and Vincent can uh, “heal” each other. The off-hours “dance battle” scene, competitions that would ready Luce for her BIG competition, are French language (with English subtitles) versions of every dance battle movie ever. There’s a little “This guy must be my real father” searching. There are a couple of moments where Luce lets us see the fear of re-injury, either through the neck-straining lifts off the floor or climbing, Cirque du Soleil fashion, up the Spanish Web for aerial routines. The wild-haired Wiki ( Salomon Azaro) earned his nickname for being a repository of every breakdance move known to Wikipedia. Semi-colorful characters know Vincent’s “secret,” and don’t give it away, among them the guy in the wheelchair, Malik (Slimane Nebchi), who knows French breakdancing history - a story about US breakdancing videotapes making it to France, playing back too fast thus the “faster” French dancing that we see in the film. What is his secret? When he suggests Luce check out this dance “school” in a former factory space, she drags Julien along for “lessons” that basically amount to watching how they break in Saint-Denis. First he denies that she saw him dancing, then he allows that “there are dancers all around here” and finally he admits “I quit dancing.” No kidding, they could be relatives.Īs Luce snoops around - the hotel has a sketchy office where rehabilitated convicts check in and get chewed out - it’s Vincent ( Kevin Mischel) intrigues her. He is Vincent, a rougher version of lithe, facially-stubbled Julien. The guy cleaning the cafe turns her head with his “dance like nobody is watching you” routine. Luce blows off Brittany, gives Mom a “got to study” cover story and sets out to check in at the place - a dump upstairs from a cafe - and check out the clientele to see which one might be her Dad. It’s in the “bad side of town,” Saint Denis. Years of deception and lying, undone by one call from a Hotel Monte Carlo. Luce steals Mom’s phone and figures this out. Her mother ( Camille Japy) takes a “neither confirm or deny” stance, and throws in “Let’s have a little getaway to Brittany!” There’s this big competition coming up, after all.īut Luce has this idea that her biological father, whom she’s never met, visited her while she was unconscious. Lover/partner and guy who dropped her Julien is still in the picture. And when she gets out, she holds no grudge. We see in the neck brace in the hospital. Luce ( Sabrina Ouazani) breaks loose, and partner Julien ( Maxime Pambet) can’t hold her to keep her from falling.īut she lives. Somebody attached their lines to something rust, and rust gives away. Two climbers, hanging from lines, “dance” over, with, and around each other on the wall of an abandoned French high rise.īut they’re better dancers than climbers.
So here it is, “Break,” aka “Step Up: Saint Denis,” a break-dancing/dance battle movie with little dramatic embellishments, good dance scenes, including aerial work (Spanish Web, etc.), and an endlessly-recycled “plot” that exists solely to get us to the next dance, set up the quarreling dancers/soon-to-be-lovers.Īmazingly, seven writers want a piece of the credit for that.ĭirector and co-writer Marc Fouchard, making his feature film debut, hits us with his first interesting wrinkle right at the start. Not that they credited the American creators of those movies or built “Break” to be a part of what we’d call the “Step Up Universe.” It’s about time the French got around to their own “Step Up” movie.
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