#What is the order of step up movies series

The story of Step Up, by contrast, is incredibly conventional. Channing Tatum's appearance doesn't suggest that he would be a good dancer, but he both looks and feels the part, and his deadpan nature plays into the hands of the role, unlike his later performance in The Eagle. As a showcase for how exciting dancing can be, the film is on a par with some of the classic Hollywood offerings I mentioned. While less kinetic or feverish than in some of the sequels, there's still an awful lot of physical effort that goes into the various sequences. The set-pieces in Step Up are of a very high quality.

But while Walters ultimately failed to tell his story in an interesting way, Fletcher has enough grasp of cinematic narrative to hold our attention. There are occasions when we get the impression that the sets have been deliberately designed to be as big and spacious as possible, to allow more room for the dancing and more scope for the camera movements. Much like Charles Walters, director of High Society, Anne Fletcher comes from a background in choreography. You won't find here any of the evocative colour shifts and shadows that he achieved in Angel Heart, but the colour palette is inviting and his use of wide angles is judicious. Michael Seresin has spent much of his career working with Alan Parker, lensing all of his films between Bugsy Malone and Come See The Paradise. Instead of dazzling you with MTV-style cuts and empty, shallow bombast, the film is an altogether gentler beast, whose moments of posturing are tame and infrequent.ĭespite not having the visual splendour of Luhrmann, Darren Aronofsky or Powell and Pressburger, Step Up is still a decent-looking film. But it does belong in the same camp, since its dancing is used to explore ideas and character traits rather than just serve as a distraction. Step Up may not boast the richly-layered themes of any of these offerings, nor is it as visually ravishing. Even Strictly Ballroom, Baz Luhrmann's raucous debut, is less about ballroom dancing than the fight against orthodoxy and how the fear of failure cripples people. Black Swan is about the need to embrace one's dark side in striving for artistic perfection, even at the cost of one's sanity. The Red Shoes is about the boundary between fantasy and reality, and the tension between creativity and common sense. The best dance films, in any sub-genre, succeed because they are not really about dancing. As I argued in my review of Crouching Tiger, Hidden Dragon, it is possible to enjoy these films as artistic endeavours rather than narrative ones, but for the less freeform among us, even the best leave us with an unsatisying niggle. Even in the so-called golden days of Fred Astaire and Ginger Rogers, around ten times the effort seemed to be expended on the dancing than on the events that made them dance in the first place.

#What is the order of step up movies series

It's very easy to view dance films as essentially a series of set-pieces held together by a threadbare story. It's hardly game-changing in its construction, but it is surprisingly heartwarming and comes across as more genuine than you might expect. But where its sequels increasingly sacrificed narrative for the sake of set-pieces, the film that started it all gets a good balance and is the most focussed of all the series. Where classic-era Hollywood dance films were dominated by ballroom, ballet and tap dancing, the 2000s gave us film after film in which impressive street or hip-hop choreography came face-to-face with decades-old romantic and dramatic conventions, with varying degrees of success.Īt the more mainstream end of this wave we have Step Up, the first in a series of five films (to date) which combine predictable plots with often jaw-dropping dancing. The surprise commercial success of Save the Last Dance ushered in a wave of films focussed around street dance and hip-hop.