Why do we gotta prequelize everything? We already know the backstory in THE PASSION OF THE CHRIST, does it really gotta be spelled out for us who the guy’s mom was and what the tax rate was when he was born and all that shit? I mean come on.
THE NATIVITY STORY is the movie version of the Nativity story, from the director of TWILIGHT, adapted from the book by God featuring Luke and Matthew. Academy Award nominee, whale rider and Queen Amidala successor Keisha Castle-Hughes plays Mary, the mother of Jesus. Some baby plays Jesus. I’m not sure if it’s a baby that has done anything else. It wasn’t a particularly memorable baby or anything. I mean, it was fine, I’m not criticizing the baby. (read the rest of this shit…)
JUICE is an early ’90s “hood movie” about four young friends in New York who fall into some stupid shit. Tired of getting picked on by the Puerto Rican kids and the cops and not having money, they decide to get a gun (just one between them) and rob a little mini-mart where the guy is an asshole and yells at them sometimes. It’s not exactly The Thomas Crown Affair they’re trying to pull off, but they’re amateurs so they fuck up this small time crime and have to deal with the aftermath. 
Oh, is this what “hipsters” are that everybody’s always worried about? I can never really tell. I definitely don’t think these are “geeks,” unless it’s the honorary kind that have to have somebody on the internet vouch for them, like “no, Vin Diesel really is a geek, he showed me he had Dungeons and Dragons dice in his glove compartment.” No, I get the idea these guys are hip, and therefore hipsters. But they might just be civilians. I’m not very good at this. 
SLASHED DREAMS seems at first like it might have some interesting variations on the slasher formula. It’s obviously gonna be crappy, but that doesn’t always mean it’s not gonna be worth watching. It starts at a school (college I think, but you never can tell how old they’re supposed to be in these things). A girl has just received a letter from a friend who left school to live in the woods, and he says things are going swimmingly.
“You know what? I’ve never actually seen a Terrence Malick movie,” I admitted, embarrassed.
I’m surprised it took this long for somebody to make a straight drama about mixed martial artists. It seems so obvious. It would inherently have all the same dramatic elements as a boxing movie (underdog reaching for the top, wife tired of seeing him beat up, society treating him as a dumb brute, then the fear of losing it all by a loss or an injury, all that) plus the novelty of an expanded repertoire of moves (kicks, chokes, armbars, throws, flying knees) and of being a popular newer sport that hasn’t been done to death in movies. 
Okay, I know I’m not supposed to like a movie like this, I know I’m supposed to feel guilty if I get any pleasure from it, but I am a man with honor and I cannot tell a lie and all that shit so I gotta tell you that I fucking loved the cheesy dance competition movie STEP UP 3. Returning-from-part-2 director Jon M. Chu steps up (all puns are coincidental) the energy and inventiveness like he did before, but this time about tenfold. It’s stupid and hilarious and stylish and there’s more great dancing just in the deleted scenes than there was in all of part 1. 
STEP UP 2 THE STREETS is one of those impressive sequels that re-invents the whole thing and gives it new life. Because the main character is a girl, instead of a guy. Totally different.
The opening credits of STEP UP had me laughing and remembering everything I hated about BREAKIN’ and knowing I made the right decision to rent this shit. A Petey Pablo song plays over a series of shots contrasting two worlds: ballet tippy toes in a well-lit dance studio; Timberlands and high-heeled boots dancing on dark concrete. Then it’s the legs of the ballet dancers hopping around; some dudes in a messy warehouse with chain link fences, loose tires and ladders jumping over each other’s shoulders and pumping their fists in unison. And it continues to alternate, comparing and contrasting the moves of the delicate ballet dancers and the people in their oversized hoodies, sideways hats and gold chains. 
released April 27, 2001
