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Step Up Revolution2012 | 99 min | PG-13 | 2.39:1
At this point, there’s really nothing helping to differentiate between the four “Step Up” pictures outside of the use of 3D. These are interchangeable movies, geared solely toward younger crowds who value the latest trends in dance choreography while enjoying tanned eye candy provided by the chiseled stars of the show. “Step Up Revolution” isn’t the worst of the series, but it’s the laziest, doing away with any type of dramatic substance and basic elements of logic to forge ahead as an extended music video. Perhaps this is all that’s required for most audiences, but when the writing is this flaccid and the performances resemble advanced robotics, a little production imagination could go a long way. 
Scraping together a living as a server at a five-star resort in Miami, Sean (Ryan Guzman) dreams of making his fortune as a dancer, working with his crew The Mob to create amazing displays of hip-hop movement, recording the grand acts of workday interruption for a YouTube contest. When powerful developer Anderson (Peter Gallagher) threatens to bulldoze a historic section of town to build more hotels, The Mob grows irate, looking for a perfect dance performance that communicates their anger and changes Anderson’s mind about the project. Complicating the mission is Emily (Kathryn McCormick), a young woman hoping to land a spot with a prestigious dance school, yet drawn to Sean and The Mob, finding inspiration with their organized chaos. Emily also happens to be Anderson’s daughter, leaving the members of the dance crew suspicious of her motives while Sean can’t help but fall in love. Instead of being wowed by the spastic dance choreography, I was left with a pile of questions after “Step Up Revolution” concluded. What kind of regal hotel chain employs a wait staff that rarely shaves? Because they’re scored to pop music, wouldn’t the notoriously itchy copyright overlords at YouTube yank The Mob’s videos in a matter of hours? How does one simply walk into a prestigious art museum off the street and gain access to their power supply? Why aren’t the dance crews arrested for impersonating police officers? Who told choreographer Mia Michaels she could act? Why is steady, blue-collar employment like kryptonite to these kids? Who pays for all of these elaborate props and outfits, created for scores of dancers? Why doesn’t anyone call the cops when these twentysomethings brazenly clog up traffic, trespass on private property, and create a terrorist atmosphere in the presence of the mayor? 
I know, I know, questions of logic during a “Step Up” movie? It seems ludicrous to ding “Revolution” for ignoring reality in favor of a dance fantasy, but there’s only so much disregard for real life one can take before exploding. Why even bother with a plot? After all, “Revolution” has all the depth of a tourism commercial, weighed down by lethargic performances emerging from a cast largely made up of amateurs with impeccable cheekbones and sculpted abs. Giving these dancers drama to work through results in brutal scenes of melodrama and screenwriting cheats, rarely resembling human conflict. It’s all just padding between dance explosions, yet the pauses are deadly, creating an oppressive atmosphere of inert storytelling. First-time director Scott Speer doesn’t have the seasoning to inspire excitement, more concerned with blitzkrieg editing that turns the dances into a series of individual moves cut together (there’s never an unbroken shot), smashing the specialty of The Mob’s world-changing body language. There’s one scene that’s wholly unfortunate, observing The Mob using smoke grenades to disorient Anderson’s construction announcement for the mayor, with the kids storming into the room wearing body armor and gas masks to terrorize partygoers. Talk about lousy timing. 
“Step Up Revolution” is horribly scripted (we sit through two extended Mob events before character introductions are made) and amazingly dull. The 3D gimmick (initiated in the last sequel) only reinforces the one-dimensionality of the viewing experience. At this point, one would think the producers would settle down and focus entirely on the star of the show: dance. Instead, they once again try to make a stale wad of bubble gum meaningful, wasting time on DOA dramatics when everyone would rather watch the bodies in motion. Starring: Adam G. Sevani, Kathryn McCormick, Ryan Guzman Director: Scott Speer » See full cast & crew |
 
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