Breakin' 2: Electric Boogaloo serves as a perfect example of the more often than not erroneous 'bigger is better' philosophy that pervades American society. This movie, if nothing else, reminds us that more is not always more. This stinker of stinkers succeeds only in cheapening the impact of the dancing in the first movie by reducing it to an ornament for an absurd non-story.
In its predecessor one can detect a tiny drop of integrity where the precepts of story forming are concerned. The conflict set up between 'street culture' and society's 'upper-crust' was less than realistic, but break dancing, as a form of urban art, was presented interestingly enough to capture my interest (I'm willing to forgive a lot for the sake of entertainment). The dynamic dance moves were just enough to suspend not disbelief, but dismissal of the ridiculous. In Boogaloo, that hint, that tiny drop of integrity became a drop of spittle on a hot iron. More thought and attention is generally given to the flushing of giant smelly turds than were given to the creation of characters, dialog, and scenarios in Boogaloo. Sam Firstenberg is no Joel Silberg. What? I'm not sure what that means myself. In fact I'm ashamed I said it.
It's not difficult to see why this movie was made. It was the decade of cashing in on flashes-in-the-pan. If a teet squirts milk, then squeeze it for all it's worth, right? Breakin' 2 is nothing more than a poorly conceived advertisement for the flavor of the month. Sadly, this confusion of marketing and entertainment is not only alive and well today, it's grown into a gigantic retarded baby that's painting everything with a thick coat of mediocrity if not out and out stupidity. This is the devolution of popular culture. Art is no longer a part of the everyday.
In its predecessor one can detect a tiny drop of integrity where the precepts of story forming are concerned. The conflict set up between 'street culture' and society's 'upper-crust' was less than realistic, but break dancing, as a form of urban art, was presented interestingly enough to capture my interest (I'm willing to forgive a lot for the sake of entertainment). The dynamic dance moves were just enough to suspend not disbelief, but dismissal of the ridiculous. In Boogaloo, that hint, that tiny drop of integrity became a drop of spittle on a hot iron. More thought and attention is generally given to the flushing of giant smelly turds than were given to the creation of characters, dialog, and scenarios in Boogaloo. Sam Firstenberg is no Joel Silberg. What? I'm not sure what that means myself. In fact I'm ashamed I said it.
It's not difficult to see why this movie was made. It was the decade of cashing in on flashes-in-the-pan. If a teet squirts milk, then squeeze it for all it's worth, right? Breakin' 2 is nothing more than a poorly conceived advertisement for the flavor of the month. Sadly, this confusion of marketing and entertainment is not only alive and well today, it's grown into a gigantic retarded baby that's painting everything with a thick coat of mediocrity if not out and out stupidity. This is the devolution of popular culture. Art is no longer a part of the everyday.