As works of cinema, Breakin' and its sequel barely qualify as movies. On one level, it makes sense that the Breakin' films would be largely remembered as cheap punchlines and go-to pop culture references for the campiness of the 1980s. "Special K") boldly challenging the divides of high and low culture by fusing the movement of the streets with the discipline of her earlier training, but also the cliché of passionate street dancers risking it all for a dream.īreakin 2: Electric Boogaloo, subsequently, recycles the convention of plucky, talented youngsters climactically putting on a big show to raise money for a worthy cause in its cornball tale of a group of passionate street dancers (the kind who risk it all for their dreams and also challenge the high-low culture divide) putting on a big breakdancing show to save the youth rec center from being torn down to make space for an evil (i.e white people-engineered) shopping center. There's the glorious chestnut about a classically trained dancer (in this case, Lucinda Dickey as jazz-trained daughter of privilege, Kelly a.k.a. For decades, smart asses have jokingly affixed "Electric Boogaloo", the notorious subtitle of the second film, to a series of comically unlikely would-be sequels, although in recent years its title as the undisputed king of facetious subtitles has been challenged by such other gloriously specific, evocative subtitles as the Wall Street sequel's "Money Never Sleeps" and The Hobbit follow-up's "The Desolation Of Smaug"Īs a longtime pop culture writer, I have joked about the premises of the Breakin' franchise long before I saw them because, in just two wonderfully cheesy breakdancesploitation extravaganzas, the Breakin' series used three of the most quintessentially cheesy dance movie plots ever committed to film. At this point it seems safe to assume that more people have made jokes about the Breakin' movies than have actually seen them.
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