While “Battle of the Year” may not be a cinematic masterpiece, fans of dance and Chris Brown will find some redeeming qualities in this film centered around the high-stakes world of breakdancing competitions. Despite its predictable plot and shortcomings in script and acting, the movie offers moments of impressive choreography and showcases Brown’s undeniable talent on the dance floor.
The narrative of “Battle of the Year” follows Jason Blake (Josh Holloway), a former basketball coach grappling with personal loss, who is enlisted by his friend Dante (Laz Alonso) to coach an American b-boy team. Their mission? To compete in the prestigious “Battle of the Year” competition in France, aiming to reclaim America’s former glory in the breakdancing world. Despite Jason’s initial reluctance and struggles with alcoholism, he takes on the challenge, assembling a diverse team of talented but undisciplined dancers.
Director Benson Lee, known for his documentary “Planet B-Boy,” brings authenticity to the dance sequences, reflecting his genuine appreciation for breakdancing culture. However, his direction is somewhat constrained by a formulaic screenplay. The storyline treads familiar ground, depicting a group of underdogs learning to work together and overcome personal obstacles under the guidance of a troubled coach. This predictable structure prevents the film from achieving true originality in its storytelling.
One of the film’s most talked-about aspects is the casting of Chris Brown as Rooster, a highly skilled but arrogant member of the b-boy team. Brown’s portrayal of a narcissistic character might not be a significant acting stretch, but he undeniably commands attention on screen. His dancing prowess is a major highlight, and his star presence, whether you admire or critique it, keeps viewers engaged whenever he’s performing.
Josh Peck provides a more amiable presence as Franklyn, Jason’s assistant. While his role is largely supportive and comedic relief, Peck brings a likeable quality to the film. The rest of the ensemble cast is primarily chosen for their dancing abilities, which is evident in the film’s dynamic dance sequences. However, when the script demands emotional depth or complex interactions, particularly in a subplot involving a gay b-boy and a homophobic teammate, the acting feels somewhat forced and unconvincing. The film’s strength truly lies in its showcasing of dance talent rather than dramatic performances.
The climax of “Battle of the Year” arrives with the competition itself, and this is where Lee’s direction truly comes alive. The film effectively captures the energy and excitement of the international breakdancing scene, featuring impressive performances from various national teams, notably the Korean team. The American team’s routines are also skillfully executed and visually captivating. It’s in these moments of dance and movement that the film finds its rhythm and energy.
However, the choice to film “Battle of the Year” in digital 3-D is arguably detrimental to the viewing experience. The 3-D and digital formats, ironically intended to enhance the visual impact of the dance sequences, instead make the action appear less fluid, somewhat choppy, and occasionally blurry. A 2-D version might offer a more satisfying viewing experience for those seeking to appreciate the dance choreography without the distraction of potentially flawed visual technology. Ultimately, while “Battle of the Year” may not reach the level of classic dance movies, Chris Brown’s dancing and the energetic competition scenes offer enough entertainment for dedicated fans of the genre and those specifically seeking a dancing movie featuring Chris Brown.
