Save the Last Dance

(Photo by Courtesy Everett Collection)

30 Essential Dance Movies

As seminal dance film Save the Last Dance turns 20, we look at the best dance films ever made… and why the Julia Stiles favorite is just a bit too off-beat to make the cut.

Save the Last Dance, which turns 20 this year, has some things you probably want in a movie. A soundtrack that includes Jill Scott and Lisa “Left Eye” Lopes? Yes. References to James Baldwin in the first twelve minutes? You got it. A 23-year-old Kerry Washington in one of her first adult roles, radiating the kind of charisma and power that will one day convince Pope Associates to kill and die for her? Damn right.

It also has a lot of what you’d expect to find in a dance movie, especially one about a ballet dancer. Rehearsal montages? Absolutely. Bleeding toes mangled by hours spent dancing in pointe shoes? Obviously. A dramatic final number performed in front of snooty gatekeepers? Of course.

Unfortunately, for lovers of dance, Save the Last Dance’s dance sequences themselves leave a lot to be desired: the hip hop club scenes are given short shrift, as are the moments in which the lead characters go to the Joffrey Ballet to watch a professional performance. The sequences in which Julia Stiles and her body double do ballet – and especially when they perform the climactic ballet-hip hop hybrid final number – are a reminder that while it can be hard to cast actors who can really dance (or dancers who can really act), it’s usually worth it.

As for the racial politics of the movie – suburban white girl moves to Chicago to live with her father when her mother dies, goes to a majority Black high school where students have criminal records and kids, falls for the college-bound Black boy who teaches her hip hop, and is relieved of the comforting colorblind fantasy that there’s “only one world” – it’s not so much that they’ve aged badly. In a crop of dance movies that came out between 2000 and 2006 (Center Stage, Step Up, etc.), Save the Last Dance is the most direct about race and racism, making explicit what a lot of the other movies leave implicit. But it’s hard to imagine a dance movie made in 2020 putting a gawky white ballet dancer learning hip hop – and her realization that white women enjoy privilege that plays out in their dating and social lives – at the center of its narrative. Which is a sign of how the needle has moved in the two decades since Save the Last Dance was released.

And there are still some things that the film leaves implicit, the most obvious of which is the notion that ballet is inherently white and feminine, practiced by uptight and feminine people, that it’s a form of rigid artifice. Hip hop, on the other hand, a Black artform with origins in street and social dancing, is depicted as inherently loose, cool, masculine, and real. These are stereotypes that were in place in 2001 – and that have been reinforced by films in which uptight white girls have to learn to loosen up and get down – and they persist today, making ballet and Blackness seem antithetical, especially for Black girls and women who aspire to learn ballet.

In honor of Save the Last Dance’s 20th anniversary, we’ve assembled a list of 30 essential dance movies sorted by Tomatometer, encompassing ballet, hip hop, modern, tap, ballroom, breaking, and the magic of Mike.

In order to be considered for this list, the movie had to include diegetic dancing – that is, dancing that the characters acknowledge as dancing, as opposed to a musical number in which the characters break out in song and dance. Exceptions were made for musicals that contained diegetic numbers, like A Chorus Line, which is about a Broadway audition, and Singin’ in the Rain, which is about the creation of a musical. -Chloe Angyal

 Angyal is a contributing editor at MarieClaire.com and the author of Turning Pointe: How a New Generation of Dancers Is Saving Ballet From Itself, which will be published by Bold Type Books on May 4. 

#30

Dancers (1987)

#30
Adjusted Score: -1%
Critics Consensus: No consensus yet.
Synopsis: A Russian ballet superstar (Mikhail Baryshnikov) woos an American ingenue while filming a performance of "Giselle."... [More]
Directed By: Herbert Ross

#29

You Got Served (2004)
14%

#29
Adjusted Score: 15935%
Critics Consensus: The dance sequences are exhilarating, but everything else about this movie is sloppy and generic.
Synopsis: David (Omarion Grandberry) and Elgin (Marques Houston) helm a talented street-dancing crew that engages in dance battles in a Los... [More]
Directed By: Christopher B. Stokes

#28

Honey (2003)
21%

#28
Adjusted Score: 23555%
Critics Consensus: An attractive Jessica Alba and energetic dance numbers provide some lift to this corny and formulaic movie.
Synopsis: Honey Daniels (Jessica Alba) dreams of making a name for herself as a hip-hop choreographer. When she's not busy hitting... [More]
Directed By: Bille Woodruff

#27

Step Up (2006)
21%

#27
Adjusted Score: 25145%
Critics Consensus: This trite teen romance has too little plot and not enough dancing.
Synopsis: Tyler Gage (Channing Tatum) has been in and out of trouble for most of his life and after finding himself... [More]
Directed By: Anne Fletcher

#26

Stomp the Yard (2007)
25%

#26
Adjusted Score: 27261%
Critics Consensus: While Stomp the Yard contains impressive musical and dance numbers, it loses its momentum during the intervening soap opera-style subplots.
Synopsis: After his brother's death, a troubled but gifted street dancer enrolls in Atlanta's Truth University. As he tries to concentrate... [More]
Directed By: Sylvain White

#25

Flashdance (1983)
38%

#25
Adjusted Score: 40766%
Critics Consensus: All style and very little substance, Flashdance boasts eye-catching dance sequences -- and benefits from an appealing performance from Jennifer Beals -- but its narrative is flat-footed.
Synopsis: Alex Owens (Jennifer Beals) is a beautiful young woman who works a day job in a steel mill and dances... [More]
Directed By: Adrian Lyne

#24
Adjusted Score: 38267%
Critics Consensus: No consensus yet.
Synopsis: Though she's a talented gymnast, Janey (Sarah Jessica Parker) has always followed the orders of her strict Army colonel father... [More]
Directed By: Alan Metter

#23

A Chorus Line (1985)
40%

#23
Adjusted Score: 42412%
Critics Consensus: On stage, A Chorus Line pulled back the curtain to reveal the hopes and fears of showbiz strivers, but that energy and urgency is lost in the transition to the big screen.
Synopsis: Hundreds of hopefuls congregate at a cattle call for Broadway dancers. A sour director, Zach (Michael Douglas), and his brusque... [More]
Directed By: Richard Attenborough

#22

Center Stage (2000)
42%

#22
Adjusted Score: 43589%
Critics Consensus: Viewers willing to sit through soapy plot contrivances to see some excellent dancing might enjoy Center Stage; for everyone else, there's still always Fame.
Synopsis: A dozen adolescents have begun their training at the renowned American Ballet Academy, where they encounter tremendous physical and mental... [More]
Directed By: Nicholas Hytner

#21

White Nights (1985)
46%

#21
Adjusted Score: 46267%
Critics Consensus: No consensus yet.
Synopsis: When his plane makes an emergency landing in Siberia, ballet dancer Nikolai Rodchenko (Mikhail Baryshnikov) is recognized as a defector... [More]
Directed By: Taylor Hackford

#20

Footloose (1984)
52%

#20
Adjusted Score: 55184%
Critics Consensus: There's not much dancing, but what's there is great. The rest of the time, Footloose is a nice hunk of trashy teenage cheese.
Synopsis: Moving in from Chicago, newcomer Ren McCormack (Kevin Bacon) is in shock when he discovers the small Midwestern town he... [More]
Directed By: Herbert Ross

#19
#19
Adjusted Score: 58360%
Critics Consensus: Mao's Last Dancer has a stirring story to tell, but excessive sentimentality and leaden pacing keep this biopic from hitting its marks gracefully.
Synopsis: The ballet life of Li Cunxin begins when he 11, taken from his peasant family in rural China to train... [More]
Directed By: Bruce Beresford

#18
#18
Adjusted Score: 64012%
Critics Consensus: The Turning Point is a handsomely-made resuscitation of Old Hollywood melodramas with a compelling duo at its center, but the formulaic script keeps this story from realizing its symphonic potential.
Synopsis: Forced to give up ballet after becoming pregnant, Deedee (Shirley MacLaine) moved from New York to Oklahoma to raise a... [More]
Directed By: Herbert Ross

#17

Magic Mike XXL (2015)
65%

#17
Adjusted Score: 74758%
Critics Consensus: Magic Mike XXL has enough narrative thrust and beefy charm to deliver another helping of well-oiled entertainment, even if this sequel isn't quite as pleasurable as its predecessor.
Synopsis: It's been three years since Mike Lane's (Channing Tatum) retirement from stripping, but the former dancer misses the excitement and... [More]
Directed By: Gregory Jacobs

#16

Dirty Dancing (1987)
69%

#16
Adjusted Score: 74815%
Critics Consensus: Like its winsome characters, Dirty Dancing uses impressive choreography and the power of song to surmount a series of formidable obstacles.
Synopsis: Baby (Jennifer Grey) is one listless summer away from the Peace Corps. Hoping to enjoy her youth while it lasts,... [More]
Directed By: Emile Ardolino

#15

The Company (2003)
72%

#15
Adjusted Score: 75262%
Critics Consensus: Its deliberately unfocused narrative may frustrate some viewers, but The Company finds Altman gracefully applying his distinctive eye to the world of dance.
Synopsis: Loretta "Ry" Ryan (Neve Campbell) is an aspiring ballerina performing with the renowned Joffrey Ballet in Chicago. As she struggles... [More]
Directed By: Robert Altman

#14

Magic Mike (2012)
79%

#14
Adjusted Score: 87124%
Critics Consensus: Magic Mike's sensitive direction, smart screenplay, and strong performances allow audiences to have their beefcake and eat it too.
Synopsis: By day, Mike (Channing Tatum) makes ends meet any way he can -- handyman jobs, detailing cars or designing furniture.... [More]
Directed By: Steven Soderbergh

#13
#13
Adjusted Score: 86579%
Critics Consensus: Boasting a smart, poignant story, a classic soundtrack, and a starmaking performance from John Travolta, Saturday Night Fever ranks among the finest dramas of the 1970s.
Synopsis: Tony Manero (John Travolta) doesn't have much going for him during the weekdays. He still lives at home and works... [More]
Directed By: John Badham

#12

Fame (1980)
81%

#12
Adjusted Score: 83422%
Critics Consensus: Just because Fame is a well-acted musical doesn't mean it flinches against its surprisingly heavy topics.
Synopsis: Young men and women audition for coveted spots at the New York High School of Performing Arts. Those who make... [More]
Directed By: Alan Parker

#11

Black Swan (2010)
85%

#11
Adjusted Score: 96494%
Critics Consensus: Bracingly intense, passionate, and wildly melodramatic, Black Swan glides on Darren Aronofsky's bold direction -- and a bravura performance from Natalie Portman.
Synopsis: Nina (Natalie Portman) is a ballerina whose passion for the dance rules every facet of her life. When the company's... [More]
Directed By: Darren Aronofsky

#10

Billy Elliot (2000)
85%

#10
Adjusted Score: 88273%
Critics Consensus: Billy Elliot is a charming movie that can evoke both laughter and tears.
Synopsis: The life of 11-year-old Billy Elliot, a coal miner's son in Northern England, is forever changed one day when he... [More]
Directed By: Stephen Daldry

#9

All That Jazz (1979)
87%

#9
Adjusted Score: 89581%
Critics Consensus: Director Bob Fosse and star Roy Scheider are at the top of their games in this dazzling, self-aware stage drama about a death-obsessed director-choreographer.
Synopsis: When he is not planning for his upcoming stage musical or working on his Hollywood film, choreographer/director Joe Gideon (Roy... [More]
Directed By: Bob Fosse

#8

Chicago (2002)
86%

#8
Adjusted Score: 93819%
Critics Consensus: A rousing and energetic adaptation of the Broadway musical, Chicago succeeds on the level of pure spectacle, but provides a surprising level of depth and humor as well.
Synopsis: Nightclub sensation Velma (Catherine Zeta-Jones) murders her philandering husband, and Chicago's slickest lawyer, Billy Flynn (Richard Gere), is set to... [More]
Directed By: Rob Marshall

#7

Suspiria (1977)
93%

#7
Adjusted Score: 98568%
Critics Consensus: The blood pours freely in Argento's classic Suspiria, a giallo horror as grandiose and glossy as it is gory.
Synopsis: Suzy (Jessica Harper) travels to Germany to attend ballet school. When she arrives, late on a stormy night, no one... [More]
Directed By: Dario Argento

#6

Cabaret (1972)
93%

#6
Adjusted Score: 97474%
Critics Consensus: Great performances and evocative musical numbers help Cabaret secure its status as a stylish, socially conscious classic.
Synopsis: In Berlin in 1931, American cabaret singer Sally Bowles (Liza Minnelli) meets British academic Brian Roberts (Michael York), who is... [More]
Directed By: Bob Fosse

#5
#5
Adjusted Score: 93262%
Critics Consensus: As emotionally rich as it is eye-catching, Strictly Ballroom uses its infectious energy as the fuel for a modern dance classic with all the right moves.
Synopsis: A top ballroom dancer pairs with a plain, left-footed local girl when his maverick style earns him the disdain of... [More]
Directed By: Baz Luhrmann

#4

The Red Shoes (1948)
97%

#4
Adjusted Score: 103899%
Critics Consensus: The Red Shoes is one of the best-looking movies ever, and blends multiple moods and styles with balletic grace.
Synopsis: In this classic drama, Vicky Page (Moira Shearer) is an aspiring ballerina torn between her dedication to dance and her... [More]

#3

The Fits (2015)
96%

#3
Adjusted Score: 102314%
Critics Consensus: As gripping as it is unique, the thrillingly kinetic The Fits marks debuting writer-director Anna Rose Holmer as a singular talent.
Synopsis: An 11-year-old tomboy (Royalty Hightower) tries to fit in with her peers after joining an all-girl dance team.... [More]
Directed By: Anna Rose Holmer

#2
#2
Adjusted Score: 96374%
Critics Consensus: No consensus yet.
Synopsis: Former ballet student Tara Webster longs to return to her dreams after a devastating injury leaves her unable to dance.... [More]
Directed By: Jeffrey Walker

#1
#1
Adjusted Score: 109747%
Critics Consensus: Clever, incisive, and funny, Singin' in the Rain is a masterpiece of the classical Hollywood musical.
Synopsis: A spoof of the turmoil that afflicted the movie industry in the late 1920s when movies went from silent to... [More]
Directed By: Stanley Donen, Gene Kelly

A remake scoring better than its original counterpart? Rare, but it’s been done before as seen in this week’s gallery of every movie remake that got a higher Tomatometer than the first try!

Human sacrifice, dogs and cats living together, girls in tan speedsuits! Mass hysteria has gripped the nation since the hyperventilating presence of a femme Ghostbusters swooped in with a trailer, becoming the most disliked in YouTube history. Would a Mannequin remake cause the same tribulation? Only time will tell.

For now, as the Ghostbusters franchise crosses the mainstream once again, we look at 24 more ’80s movie remakes, ranked worst to best by Tomatometer! (Only original properties included — no Annie or Conan — while movies like 2011’s The Thing, which explicitly extend the original plot, are excluded.)

Canadian TV’s Schitt’s Creek, starring former SCTV co-stars and frequent Christopher Guest collaborators Eugene Levy and Catherine O’Hara, will not only air in Canada but also on TVGN (formerly the TV Guide Network) in January of 2015. Plus, Chris Elliot. Yes!

In Schitt’s Creek, an extremely wealthy, privileged family loses everything — all except the small podunk town they once bought years before as a joke: Schitt’s Creek. The thirty-minute scripted show will debut with an hour-long episode. The first trailer can be seen right here:

Will you be watching Schitt’s Creek?

This Friday marks the arrival of
Step Up 2 the
Streets
, the
Briana Evigan-led
sequel to 2006’s teen dancing drama
Step Up
. Aside from
continuing the Evigan family tradition (remember papa Greg in B.J. and the
Bear
?), Step Up 2 the Streets adds another chapter to the long
history of actors hoofin’ it in major motion pictures. Although it’s a genre
critics haven’t always been kind to — the original Step Up, for instance,
only netted an anemic 21 percent on the Tomatometer — audiences have been
historically dismissive of all the critical contempt, pushing dozens of
fancy-footed extravaganzas to the upper reaches of the box-office charts.

For this week’s Total Recall, we’ll be taking a look back
at three movies that used their stars’ nimble moves as the engine driving the
plot. We can’t possibly come anywhere near covering the genre as a whole —
actors have been dancing on the silver screen for about as long as there’s
been
a silver screen — so in the interest of brevity, we’ll be focusing on a
handful of the films that helped resuscitate dancing at a theater near you after
1981. (Why 1981? Because that was the year that
Steve
Guttenberg
,
Bruce Jenner
, the Village People, and
Nancy
Walker
drove a dagger through the film musical’s heart with
Can’t Stop the
Music
. It’s a film worthy of its own feature…but we digress.)

For all their crimes against dancing on film (and film in
general), the makers of Can’t Stop the Music were essentially right — you
can’t stop the music, and in just three short years, a young actor by the
name of Kevin
Bacon
went out and proved it by toplining a little movie called
Footloose

(56 percent). He didn’t do it alone, of course — he had a little help from a
supporting cast that included
Lori Singer,
Dianne Wiest,
and a wonderfully over the top
John Lithgow,
not to mention new music from Sammy Hagar, Deneice Williams, and ’80s soundtrack
king Kenny Loggins — but it was Bacon’s footwork and spiky ’80s hair that kept
kids flocking to their neighborhood megaplexes in 1984.

The plot was nothing more than the standard "rebel boy
dances his way to the top" arc that pretty much every dance film follows —
something critics everywhere noticed as they turned up their noses at
Footloose
. Screenwriter
Dean Pitchford
(who also co-wrote the soundtrack) knew something the critics didn’t, however:
with MTV invading suburban homes, kids across America were hungry for music
videos, and a movie that offered what was essentially a 107-minute video with
short breaks for dialogue would do very, very well for itself. Pitchford wasn’t
able to follow up his Footloose success with further films — 1989’s
Sing
went largely unheard (har!) — but as we’ll soon see, other filmmakers
would be only too happy to pick up where he left off.
 



 

Filmmakers such as director
Emile Ardolino,
who would, just a matter of months after Footloose finally faded from the
national consciousness, take a script by
Eleanor
Bergstein
and use it to create the cultural capstone known as
Dirty Dancing
.

It’s a little hard to explain if you weren’t there when it
happened, but just trust us — Dirty Dancing was H-U-G-E huge in
1987. The story arc is the same as ever, of course; the screenplay is supposed
to be based on Bergstein’s childhood, but that doesn’t change the fact that you
know exactly what’s going to happen at every 15-minute increment from the time
the opening credits scroll. Ardolino’s genius lay in combining a
’60s-fetishizing soundtrack with
Patrick Swayze‘s
lithe sex appeal. (This is not intended to be an insult to Jennifer Grey — but
come on. The number of guys who willingly see these movies is small, to say the
least.)

Critics were less than impressed with Dirty Dancing,
giving it a 67 percent on the Tomatometer (Rob Humanick scoffed, "An animated
rendering of its characters is virtually the only thing preventing the formulaic
Dirty Dancing from being another one of Disney’s crappy romances"), but
the movie hit its crucial demographic like a comet, spawning a live show, two
soundtrack albums, a short-lived television spinoff, and even a very belated,
tangentially related sequel. (What, you thought we forgot about
Dirty Dancing: Havana
Nights
?)
 



 

It may have been a little too successful, in fact;
the dance mini-revival sparked by Footloose lay dormant for awhile after
Dirty Dancing came and went.  The type of feel-good pop music that
dominated the dance movies of the ’80s was decidedly out of vogue during the
first half of the ’90s — just try and imagine a dance flick powered by a
soundtrack including new music from Nirvana and Pavement — and mainstream
filmmakers hadn’t yet hipped themselves to the market muscle behind modern R&B.
That all changed as the ’90s waned, however; by 2001, dance movies were becoming
a semi-regular fixture at theaters, and even Columbia University-bound
Julia Stiles
wanted in on the action.

We’re talking, of course, about
Save the Last
Dance
, the Stiles/Sean
Patrick Thomas
-led drama that, while inarguably far from a distinguished
film, is fairly emblematic of recent dance movies in general. It’s a new
century, but the basic plot remains unchanged: There are tracks, our young
lovers are from opposite sides, and only the power of dance shall convince the
world that their feelings must prevail. The crucial difference here is the
soundtrack — it’s utterly bereft of Kenny Loggins or Eric Carmen, who have been
replaced by Snoop Dogg, Pink, and Ice Cube.

Critics, of course, remained unmoved — Tim Cogshell
dismissed Dance as "a tepid movie with a few decent dance sequences and a
lot of frustrating sexual tension," placing him squarely in line with the
scribes who left the film with a 49 percent Tomatometer — but audiences, as
ever, didn’t care, sending Save the Last Dance to nearly $100 million in
theatrical receipts.
 



 

The moral of the story, when you get right down to it, is
that people like to watch other people dancing on the big screen, no matter how
many stuffed shirts tell them they shouldn’t. It’s a lesson Briana Evigan would
do well to remember this weekend as the inevitably negative reviews come rolling
in — if, that is, the just-as-inevitably healthy bottom line doesn’t help soothe
the sting first. Our advice for Briana? Unplug the phone, kick back on the
couch, and unwind in front of a dance film marathon that includes
Saturday Night
Fever
(97 percent),
Flashdance
(31
percent), and, of course,
You Got Served

(17 percent).

The four-billion-dollar-plus summer comes to a close over the long Labor Day holiday weekend with three new wide releases all targeting male moviegoers. Slasher fans get to relive old days with the latest incarnation of Halloween, teens looking for a laugh get the ping pong comedy Balls of Fury, and adults interested in Kevin Bacon‘s brand of revenge have the action thriller Death Sentence. With target audiences for the new pics having lots of overlap, and the existing holdovers also catering to similar crowds, the marketplace will have to work hard to expand as many of these titles will eat into each other.

Setting a new industry record for the widest opening ever over Labor Day weekend, rock-star-turned-director Rob Zombie‘s Halloween attacks theaters aiming to connect with horror movie fans. The R-rated entry marks the first new installment in five years for a franchise about to hit the three-decade mark. 2002’s Halloween: Resurrection bowed to $12.3M and a solid $6,291 average in mid-July of that summer proving that Michael Myers still had the muscle to draw in his fans. The arrival of a new Halloween flick coupled with the selection of a buzzworthy director makes for an interesting combo that will spark interest with genre fans.

To say that horror has hit some bad luck at the box office this year is putting it lightly. R-rated fright flicks in 2007 have struggled but Halloween will try to change that. Excitement among fans is considerable and with no other gorefests out there, competition will come mainly from the many action films or teen comedies. The Jeepers Creepers films proved how successful Labor Day weekend could be for a horror pic and now MGM and The Weinstein Company hope demand will still be there for their newest entry. Attacking 3,472 theaters, Halloween might collect about $20M over the Friday-to-Monday holiday weekend.


Rob Zombie’s Halloween

The ping pong pic Balls of Fury, enters the marketplace in a good position as the frame’s only new comedy and only new PG-13 flick. The Focus release should stand out as a viable option for teenagers looking to kill some time with goofy immature fun. Starring Dan Fogler, Christopher Walken, George Lopez, Maggie Q, and Aisha Tyler, Balls is trying to market itself as a film that fans of Dodgeball would dig. Of course it doesn’t have the star wattage of a Vince or a Ben so the grosses will be much smaller. But as a B-list comedy, it does its job and should satisfy its target audience in the short term. The marketing push has been good and perfectly matches the silly nature of the film. Focus moved up its release date from a Friday opening to a Wednesday bow hoping to take advantage of most schools still being out of session. Plus the distrib expects some good word-of-mouth midweek could help its chances come the weekend. Playing in 3,052 theaters by Friday, Balls of Fury could launch with about $14M over four days and $17M over six days.


Dan Fogler in Balls of Fury

Aisha Tyler stars in another film opening this weekend taking a supporting role in the Kevin Bacon revenge thriller Death Sentence. Directed by Saw‘s James Wan, the R-rated pic finds the Footloose star playing a mild-mannered executive pushed to the edge to protect his family. Co-starring Kelly Preston and John Goodman, the Fox release should skew to an older adult audience which makes the long-lasting hit The Bourne Ultimatum a direct threat despite being in its fifth frame. The weekend’s other male-skewing pics will also steal away some biz so a modest bow is likely. Opening in roughly 1,900 theaters, Death Sentence might debut with about $7M over the long weekend.


Kevin Bacon in Death Sentence

Sony’s hit comedy Superbad, which has become must-see viewing for high school and college students heading back to school, should lose its crown after two weeks on top. But the raunchy teen smash will still post a solid gross despite heavy competition from new releases. Superbad‘s four-day take might drop 25% from last weekend’s three-day tally to around $13.5M which would boost the 18-day cume to a sensational $90M.

Since Labor Day weekend tends to be a catch-up time when people see popular flicks they’ve missed out on, another strong performance is likely to greet The Bourne Ultimatum which has easily been the top-grossing film of the past month. The new films will cause a distraction with younger moviegoers, but mature adults who may not have had time for Jason Bourne’s identity-revealing saga are sure to line up. Look for the four-day gross to dip by only 10% from last weekend giving the Universal blockbuster about $11M for the long weekend which would allow the assassin pic to cross the $200M mark on Monday.

Fellow threequel Rush Hour 3 should experience a larger drop and could fall by 25% to about $9M. That would put the total at $121M for New Line.

LAST YEAR: Mark Wahlberg scored back-to-back box office touchdowns with his sports drama Invincible which remained at number one for the second straight time with $15.4M over the four-day holiday weekend. Opening in the runnerup spot was Jason Statham‘s action pic Crank with $12.9M over the long weekend which edged out the debuting Nicolas Cage drama The Wicker Man which took in $11.7M. Final grosses reached $27.8M for the Lionsgate film and $23.6M for the Paramount pic. Rounding out the top five were Little Miss Sunshine with $9.6M and The Illusionist with $8.1M over four days.

Author: Gitesh Pandya, www.BoxOfficeGuru.com

Say what you will about Zac Efron, but the singing, dancing teen idol certainly isn’t afraid of typecasting: not only will the "High School Musical" (and "High School Musical 2") star spend the summer shimmying and warbling as part of the cast of Adam Shankman‘s "Hairspray" remake, but he is in talks to hit the ceiling (or tear up this town) in a musical remake of "Footloose."

As film trends go, this whole "musical remake" thing is arguably more palatable than, say, torture porn; still, this project strikes us as something better suited for a cable network or the direct-to-video market. On the other hand, it isn’t like the original "Footloose" is exactly hallowed ground, and it has been awhile since a Kenny Loggins-related movie has made it to the big screen.


Efron in next week’s "Hairspray"

Efron’s "High School Musical" director, Kenny "Newsies" Ortega, is slated to direct and choreograph the remake, and Dylan Sellers ("Agent Cody Banks 2: Destination London") will produce.

[And for you screaming fans who simply can’t wait to get enough of Efron — who’s certainly making the most of the recent surge in film musical popularity — check him out next week in "Hairspray." His Link Larkin is, like, the most!]

Source: Variety

Jerry Bruckheimer will produce "Game Boys" for Disney, a high-concept action comedy about slackers, monsters, video games, and the Department of Homeland Security.

From The Hollywood Reporter: "Walt Disney Pictures and Jerry Bruckheimer Films have acquired "Game Boys," an action spec by Tom Ropelewski and Evan Katz. Jerry Bruckheimer is producing. The story revolves around two thirtysomething video game junkies recruited by the Department of Homeland Security to lead a geeky army of gamers in a battle against creatures that have come to life from a video game they have mastered."

("The Last Starfighter" anyone?)

Tom Ropelewski directed "Madhouse" (1990) and "Look Who’s Talking Now" (1993). He also wrote "Loverboy" (1989) and "The Next Best Thing" (2000). Tom’s better half, veteran writer/producer Leslie Dixon, will act as a producer on "Game Boys."

Evan Katz is a TV writer making his big-screen debut. You might recognize his name from the credits of a little show called "24."

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