Save The Last Dance 2

Review By: Benjamin Lee
BenjaminLee@TheCinemaSource.com

So what’s the most profitable new trend in Hollywood today? Could it be the endless stream of superhero incarnations we witness every summer? What about the cheap, exploitative horror films with no stars that open every week at #1 with $20 million? Or maybe it’s the photo deals actresses get with tabloids when they buy up some poor Indonesian baby? Okay so the truth is Hollywood is doing something sneaky under our noses and admiring the dividends - they’re releasing direct-to-dvd sequels.

It all started in 1994 with the Robin Williams-less Aladdin 2: The Return of Jafar. The studios discovered that they had a goldmine that was as yet untapped. They were already making cheap, dumb films that bypassed cinemas and went straight to the bottom shelf but what if these same films were attached to some hoary film that no-one wanted to see more of in the first place? Bingo!

Universal, New Line, MGM and Paramount have all proudly stated their commitment to these home ‘franchises’. Essentially a rush of no-star follow-ups to films that bear little if any resemblance to their predecessors. Truth is if a consumer is perusing their local Blockbuster they’re more likely to pick up a film which has some element of pre-sold publicity that one that doesn’t. It’s a rather ingenious get-rich-quick scheme.

For instance American Pie: Band Camp sold a million units in its first week while Bring It On: All Or Nothing churned $12 million in profits in its first 7 days. And it’s worth noting that American Pie: Band Camp only cost $7 million to make and more than doubled that figure in rentals alone. So in the past year we’ve also faced Single White Female 2, Carlito’s Way: Rise To Power, Species 3, The Butterfly Effect 2, Hollow Man 2 etc. In other words: sequels that really didn’t need to be made.

Which brings me to Save The Last Dance 2. Released in 2001, Save The Last Dance was a moderately enjoyable although slightly racist hip-hop variation on Dirty Dancing. Despite suffering from the life-sucking presence of Julia Stiles, it managed to pull in just under $100 million in the US. The follow-up carries on the same story although, you’ve guessed it, none of the actors are the same. A look at the cover however cleverly manages to show awkward half-glances of our heroine, making us think Stiles has actually returned.

Its only when the film begins do we discover her replacement is just as annoying, although not as ugly. Sarah (Izabella Miko) is starting term at Julliard, the prestigious music school in New York. We can tell its New York as every scene is intercut with stock footage of yellow cabs. And when I say stock footage, I mean the editor hasn’t even been bothered to find any decent up-to-date shots. The taxis are all from the 70s and the quality is poor. That’s what you get for a $5 million budget.

As expected Sarah’s life ...