It also spoofs such musicals as FAME, FLASHDANCE, DREAMGIRLS, and the HIGH SCHOOL MUSICAL trilogy. A morbidly obese man pancakes a guy on the dance floor.DANCE FLICK is a spoof of recent urban dance movies like STEP UP and YOU GOT SERVED. A drama teacher shows his class a scene in which a character amputates his own leg. Misogyny bubbles to the surface when Thomas brutally pounds Megan for invading his space after she misinterprets his dance instruction (“Hip-hop is aggressive”). Megan gets into a fistfight with another girl. Later, Thomas and Megan attend a ballet company’s theatrical interpretation of that tragic event.
After flipping her vehicle in a wreck, Megan’s mom is struck by two cars and a minivan before her body flies into an open grave. During a dangerous dance move, a guy slides out the door and down the street, plunging to his death off an unfinished overpass. Verbal abuse from a cruel dance instructor causes a young woman to commit suicide by leaping through a window. A-Con uses his to rob a bunch of nightclubbers. Club Violent is where everyone goes to dance and where all the playas “go to get shot.” Though none get fired, characters brandish guns in a threatening manner. Charity repeatedly whacks her infant son against a window while trying to pull him back into her apartment. While practicing ballet in the living room, Megan KO’s her mother, little sister and the mailman with violent kicks to the face. Heavy doses of physical comedy range from slapstick and crude sight gags to meanspirited abuse. Much is made of a female dance instructor’s unusually large private region, which bulges beneath her leotard. Perverse adults include a randy high school guidance counselor, and Marlon Wayans as an acting teacher who kisses a male student on the mouth, then suggests that one be ready to do anything to get a part.
Other jokes involve oral sex, condoms, lesbians, sodomy and an infant contracting a venereal disease. (While that’s better than a one-night stand, it’s still a ring removed from God’s plan of intimacy in marriage.) Thomas’ dreams of medical school stem from a desire to see women naked, and he describes in tasteless detail what he looks forward to examining. In a nod to the finale of Twilight, Megan and Thomas prepare to consummate their friendship on prom night, both noting that sex should be shared by people planning to be together for a long time. Dad naively thinks he’s interested in girls, and suggests that he lose his virginity to a prostitute so that his first time is “special.” Elsewhere he wants to play the role of Juliet and tells his clueless dad about his urges. This mini-production number sends him out of the gym and into the street to flirt with smitten men. The filmmakers ponder the question “What if Zac Efron’s character in High School Musical had been gay?” Here, high school hoopster Jack (the coach’s son) dances out of the closet to the tune of “Fame,” changing the words to Irene Cara’s hit in order to celebrate his homosexuality. At one point, female dancers sport comically exaggerated breasts and backsides, and a pair of disco balls dangle from a man’s shorts. This unwed mother-who birthed her first child mid-breakdance-suggests to her absentee Baby Daddy that they have another one. Charity gives her number to a married guy, telling him she thinks his wedding ring is sexy. Beyond the low-cut dresses and suggestive dance moves (at one point, Megan wears short shorts and bares her midriff for pole dancing), there’s a lot of racy dialogue and intimations of characters sleeping together. If that sounds a lot like the story arc for Save the Last Dance, it’s because that racially charged Julia Stiles film provides the backbone for this crass comedy, which also riffs on Hairspray, Step Up, Stomp the Yard, High School Musical, You Got Served, Little Miss Sunshine, Dreamgirls and others. She moves to the big city to live with her deadbeat dad, befriends Thomas and his sister, Charity, and is invigorated by fresh urban rhythms as she spins, thrusts and glides her way out of the doldrums. Lucky for him, he’s about to meet lily-white Megan White, a tortured soul from the suburbs who’d dreamt of Julliard until her mother’s accidental death, for which Megan harbors guilt and can’t bring herself to pirouette anymore. As the film gets under way, he’s at a crossroads, feeling pressure to embrace inner-city thug life. In this rapid-fire Wayans brothers parody of modern musicals and their streetwise choreography, Thomas Uncles is a bright young African-American blessed with mad hip-hop hoofing skills.
0 kommentar(er)
