Sign in using your account with
StreetDance 2: Impressive Dancing, Upsetting Acting
The best thing about Streetdance is that it knows where its strengths lie. People don’t pay to watch dance films to watch dancers act; we want to be wowed by their moves. Streetdance doesn’t waste time trying to get dancers to emote and instead lets them express their feelings through their bodies to the point where most of the (minimal) dialogue takes place while the cast dances. It’s a glorious thing.
The plot is reminiscent of every other dance film that’s come out lately; why mess with a formula that works, right? Ash (Hentschel) humiliates himself in front of the aptly named Invincible; reigning champions on the dance crew circuit. To regain face, he scours Europe to put together the best dance crew on the continent so that they can battle Invincible in a huge competition in Paris. The final addition to the crew is Eva (Boutella); an incredible salsa dancer. Ash’s big plan is to create a fusion of Latin and street dance, resulting in something that will wow the judges and win them the title.
The film can be summed up in three words: Boutella is unbelievable. It’s what the characters keep saying over and over –especially Ash - and what you’ll be thinking while watching the film. The way she moves is incredible. Gravity doesn’t affect her the way it does the rest of us mere mortals. Of course, the film’s b-boys also have a special relationship with gravity but Boutella has a fluidity and grace that puts her in another league altogether. Despite her breathtaking dance skills though, Boutella’s acting is wooden at best. However, she’s still a step up from Hentschel who looks permanently clubbed over the head.
Most of the film’s dance routines fall squarely into the Latin or street camp. As a whole, they’re pretty astounding and they pop just that much more in 3D, but the film’s true highlight is when the crew unveil their Latin fusion choreography in the final battle. It’s inventive, sexy and so much fun to watch, though all those apply to the rest of the film’s dance routines as well. The soundtrack includes a bunch of tracks that we’re all highly familiar with, assuming you’ve turned on a radio in the past year that is, such as Wretch 32’s ‘Unorthodox’, Jessie J’s ‘Domino’ and Dev’s ‘Bass Down Low’. The music works perfectly with the choreography, the glossy colours and the editing, resulting in what is essentially a feature length music video. Depending on your expectations for dance films, this could be exactly what you want from them.
Star Trek Into Darkness marks the twelfth instalment in the Star Trek franchise – which dates all the way back to 1966 – and plays as the direct follow-up to the 2009's successful reboot, Star Trek.
The film launches into action with a thrilling opening sequence which finds Capt. James T. Kirk (Pine) in deep trouble. In an attempt to save Spock (Quinto) and the natives of Planet Nibiru from a catastrophic volcano eruption, Kirk puts the entire Starfleet in danger by revealing the U.S.S Enterprise's hideout and by interfering with Nibiru’s primitive civilisation – prime directives which should never be broken.
Even though his intentions were moral, Kirk knows that he's crossed the line. Facing demotion as an executive officer and with Spock reassigned to another ship, Kirk’s lofty ambitions look more and more unlikely. Soon, all is forgotten, however, when an act of terrorism shakes London. The man behind the attack – as the Starfleet soon learns – is John Harrison (Cumberbatch); an ex Starfleet agent gone rogue, who has now escaped to the Planet of Klingons.
With Kirk and Spock reassigned to the U.S.S Enterprise once again, the crew – which includes ship Helmsman Hikaru Sulu (Cho), Chief Medical Officer Leonard 'Bones' McCoy (Urban), Chief Engineer Montgomery 'Scotty' Scott (Pegg) and Communication Officer Nyota Uhura (Saldana) – are sent on a dangerous mission to capture and eliminate the terrorist.
However, their mission – as Captain Kirk and his team soon learn – is not at all what it seems and disturbing secrets soon bubble their way to the surface.
Director J.J. Abrams - along with the team of returning writers, Roberto Orci, Alex Krutzman and Damon Lindelof – continues to breathe life into the beloved science-fiction series and his newest addition makes the four year wait for a sequel worth it. It’s nothing short of an edge-of-the-seat extravaganza with plenty of excitement to keep everyone – including the non-Trekkies – amused. Aside from the expected action-packed scenes, the writers also manage to find time for more character-oriented threads, which allow the audience to connect just a little bit more to these iconic characters.
As far as the die-hard Trekkies are concerned, don't despair; there are plenty of nods to the past and trips down the memory line with references to former characters, locations and weird alien species.
Pine seems to be settling into the role of the infamous Captain Kirk pretty well; emotional and driven, Pine possesses the charisma to anchor such an epic. Meanwhile, the terribly talented Quinto is magnetic; his restrained and cold exterior provides plenty of laughs and, at the same time, plenty of stirring moments as we witness significant character growth. Pegg and Urban offer much of the comic-relief, while Saldana unfortunately fades into the background. Most significantly, however, Cumberbatch shows plenty of depth as what is slowly revealed to be a complex antagonist.
All in all, Star Trek Into Darkness offers guaranteesd entertainment. As an exhilarating and often moving addition to the franchise, JJ Abrams has proved that remakes, reboots and sequels can still be done well. Good job.
Is love stronger than the laws of gravity? Well, that's one peculiar question that the Argentinean director, Juan Diego Solanas, attempts to answer in newest trippy sci-fi adventure, Upside Down.
Upside Down begins with an informative voiceover explaining the story of two parallel planets – Down and Up – that are stationed exactly opposite each other, existing in the same solar system, with shared yet opposing gravity. All physical matter must obey the gravity of the world from which it comes; both planets exert an equal, but opposite, pull and messing with these laws of physics can potentially result in deadly consequences.
While Down is poor and rundown, Up is rich and affluent; going Up or interacting with the people from Up is deeply forbidden, and the only thing bridging the two is the sinister company, TransWorld.
As a child, Adam (Sturgees) – a hopeful young boy from Down – climbs to the top of Sage Mountain to get close to Up, only to meet the pretty young blonde, Eden (Dunst), from the planet Up. The couple’s affections soon blossom; however, they also attract unwanted attention from the authorities. A bloody confrontation occurs, leaving the soul-mates stranded on their own individual planets for the next ten years.
The story then moves forward and Adam – who is convinced that Eden is gone forever – is working in a run-down lab, trying to perfect a secret, pink bee pollen ingredient he’s inherited; one that allows matter to detect the gravitational fields of both planets at once.
Soon, he lands a job at the intimidating TransWorld and finds that Eden is working there as well. However, in order to get to her, Adam needs to fight against strict corporate rules and against the forces of gravity to find his way into her arms again.
The concept is definitely unorthodox, but not entirely ridiculous. It's a rather creative concept, yes, but perhaps a little too grand for its own good.
The backdrop is not the problem here – it's the story itself. To begin with, this is a tale of star-crossed lovers who will do anything – even challenge the laws of gravity – in order to be with each other. However, their story never really gets a chance to develop, and thanks to a couple of ridiculous subplots and the overpowering presence of their parallel worlds – shot beautifully using CGI effects – it never gets a chance to evoke any sympathy from, or connection to, the audience.
Both Sturgees and Dunst share a decent amount of on-screen chemistry, but the characters get a little lost in their parallel worlds. With no real story to work with, Sturgees looks flustered and Dunst lacks the charisma and allure to draw the audiences in.
Packing in an enormous amount of visual thrills, Upside Down is quirky, original and pleasing to the eye. However, its overly ambitious approach manages to forsake the heart of the story – or rather, lack thereof.