Movie: Breaking Through
Reviewed by: Samantha Keogh
Review made possible by: Times Media Home Entertainment
Described as a “coming-of-age dance drama for the YouTube generation”, I was expecting a (viral) story of internet success leading to fame for aspiring hip-hop dancer Casey.
What I found instead was a lackluster rehash of others dance movies with many of the same themes and ideas as Step Up All In, which was coincidentally penned by the same man – John Swetnam.
Although die-hard dance fans may enjoy this movie as much as any of movies in the Step Up franchise, it lacks a lot of what made other movies in this genre a success – great music and inventive dance routines.
Unlike the original Step Up and Centre Stage movies, which introduced audiences to a new style of presenting dance, moving away from the tutu and ponte shoes, the moves are no longer fresh and exciting.
What audiences want is something new and exciting to inspire a fresh generation of dance lovers, but what they get instead is time to nap.
Step Up All In and Into the Storm writer John Swetnam’s debut is just as derivative as his earlier films, but also demonstrates that his dearth of imagination extends to directing as well.
Although the film should have no trouble reaching its intended online audience, theatrical performance looks marginal.
Revisiting some of the same types of situations and themes explored in Step Up All In, Swetnam introduces aspiring young hip-hop performer and would-be Internet star Casey (Sophia Aguiar).
“All I’ve ever wanted to do is dance,” she coyly reveals, hoping that some creative moves, catchy beats and flashy video footage will put her L.A. crew in a position to reap the fame and fortune offered by a devoted online following.
But composer Michelle’s (Taeko McCarroll) tracks are derivative, videographer JJ (Jordan Rodrigues) can shoot but can’t cut and the five-member crew’s choreography is less than inspiring.
With online views of their videos barely cracking triple digits even after a year of effort, they’re all relieved when talent manager Quinn (Jay Ellis), who’s looking for the “next big Internet dance sensation,” takes an interest in representing the group.
After backing their next video, a fairly generic, no-budget number shot in a public park, Quinn reveals his actual aspiration: exclusively representing Casey in her bid for hip-hop stardom.
Reluctantly turning her back on her old crew and disregarding her struggling single mom’s admonitions to find a professional career, Casey straightens her wavy black hair, blings up her wardrobe and begins rehearsing with some real hip-hop celebrities in preparation for a major dance contest to be broadcast online. It’s not long, however, before Quinn’s motivations and loyalties are called into question, forcing Casey to reassess her future and the longtime collaborators who might still be help her break through.
Swetnam’s rudimentary script, which pits Casey’s conflicted aspirations against any remaining loyalty to her best buds, relies primarily on coming-of-age stereotypes and dance-movie cliches.
Although some actual hip-hop stars do show up in an attempt to enliven the predominantly amateurish performances (rather indifferently choreographed by Ian Eastwood), French brothers Les Twins and Asian-American crew Poreotics don’t gel well with the film’s little-known cast.
Aguiar, a Britney Spears backup dancer, sulks and pouts her way through much of the movie when fame doesn’t find her fast enough, lighting up enough to remain passably relatable during performance scenes.
The other dance crew members seem pretty much interchangeable with any other charismatic young actors, with none particularly standing out.
John Legend’s executive producer credit and a single soundtrack contribution don’t elevate Breaking Through much above B-movie material and Swetnam’s reliance on nondescript practical locations, perhaps in an attempt to look appropriately street, only emphasises the film’s low-budget origins.
