While “Battle of the Year” might not be a cinematic masterpiece destined for awards, it undeniably throws down some serious moves, particularly from Chris Brown. For audiences drawn to the energy of breakdancing or simply intrigued by Brown’s presence in a dance-centric film, there are moments within this movie that might just catch your eye – even if the plot itself occasionally stumbles.
The film’s narrative framework is fairly straightforward, echoing familiar underdog sports movie tropes. We’re introduced to Jason Blake (Josh Holloway), a former basketball coach grappling with personal setbacks, who gets roped back into the game by his friend Dante (Laz Alonso). Dante envisions assembling an American b-boy team capable of conquering the world stage at France’s prestigious “Battle of the Year” competition. He believes Jason, despite his current surly demeanor and struggles, possesses the leadership to make this happen.
Behind the camera is Benson Lee, a director already respected within the breakdancing community for his 2007 documentary “Planet B-Boy.” Lee’s genuine appreciation for the artistry of b-boying is evident in the film’s dance sequences. However, he’s navigating a less-than-stellar screenplay, one that relies heavily on the well-worn formula of a ragtag group of individuals learning to work together under the guidance of a flawed coach battling his own inner demons.
Enter Chris Brown as Rooster, arguably the most abrasive member recruited for Jason’s ambitious b-boy “dream team.” It’s a role that, perhaps uncomfortably, aligns with Brown’s public image – Rooster is portrayed as arrogant, self-absorbed, and not afraid to clash with authority. While some might find the casting on the nose, Brown’s performance, while not a huge acting stretch, is undeniably captivating. He brings a certain star power to the screen, commanding attention whether you’re impressed or simply watching with a critical eye. And, crucially for a dance movie, Brown’s skills on the dance floor are undeniable; he’s a dynamic and engaging dancer.
Adding a touch of levity is Josh Peck as Franklyn, Jason’s somewhat hapless assistant. Peck, remembered for his role in “The Wackness,” provides a likeable presence, even if his character is largely relegated to the sidelines, offering self-deprecating humor.
The remaining cast members were clearly selected more for their breakdancing prowess than their acting credentials. This casting choice is understandable, and for the most part, works in the film’s favor, particularly during the dance sequences. The movie falters slightly when it attempts deeper emotional moments or tackles heavier storylines – such as a forced subplot about overcoming homophobia within the team – which feel somewhat stiff and underdeveloped. However, when the focus shifts back to the intricate footwork and dynamic movements of breakdancing, the film finds its rhythm.
Predictably, “Battle of the Year” features its share of training montages and inspirational speeches. But it’s during the culminating “Battle of the Year” competition in France that Lee’s direction truly shines. His portrayal of the various competing teams, especially the electrifying Korean team, injects a genuine sense of excitement. The American team’s performance is also well-executed and visually engaging, showcasing the high-energy and athleticism of competitive breakdancing.
However, the film’s choice of 3D and digital format is arguably a misstep. These technologies, intended to enhance the visual experience, ironically detract from the raw energy of the dance. The 3D can make the action appear choppy and less fluid, occasionally even blurry. A 2D version of the film is available and might offer a less visually distracting viewing experience for those primarily interested in the dance sequences. For purists, or those seeking a less technologically mediated dance movie experience, classics like “Breakin’ 2” might still hold a certain nostalgic appeal and offer a less visually overwhelming portrayal of breakdancing.
