It’s confession time for a dance film enthusiast. Despite my deep-seated love for movies centered around rhythm and movement, and a particular fondness for ballet-focused narratives (perhaps stemming from years spent at the barre myself), I recently realized a glaring omission in my cinematic knowledge: I had never actually reviewed Save The Last Dance 2.
This oversight is especially surprising considering my affection for the original Save The Last Dance. The first film resonated deeply, exploring themes of cultural fusion and personal growth through dance. So, why had its sequel remained unexamined for so long?
The unfortunate truth is that Save The Last Dance 2 simply isn’t a very memorable film. It suffers from the common sequel pitfall of lacking the heart and originality that made its predecessor so impactful. Ironically, despite my preference for the first film, I’ve likely encountered Save The Last Dance 2 on television far more often. Its near-constant presence on channels like Showtime makes it almost unavoidable, a default viewing choice during those groggy mornings when changing the channel feels like an insurmountable task. It’s a cinematic experience that subtly mocks you, both for its inferior quality compared to the original and for your own inertia in not switching it off.
Save The Last Dance 2 picks up Sara’s story as she embarks on her journey at Julliard, having ended the interracial romance that was central to the first film. While Julia Stiles embodied Sara in the original, Izabella Miko takes on the role in the sequel. Miko’s casting is arguably more authentic from a dance perspective; her background includes training at the prestigious School of American Ballet before an injury rerouted her to acting. However, the change in actresses brings a significant shift in character. Stiles infused Sara with a relatable edginess, a complexity that is noticeably absent in Miko’s portrayal. Miko’s Sara is perpetually upbeat, almost to the point of being unbelievable as a continuation of the character we knew. The sequel strips Sara of the nuances that made her compelling, reducing her to a generic, cheerful young woman chasing success in a made-for-MTV movie.
At Julliard, Sara navigates the expected tropes: competitive classmates, demanding instructors, and quirky roommate dynamics. She also encounters Miles (Columbus Short), a visiting hip-hop lecturer who recognizes and appreciates Sara’s hip-hop dance talent. A romantic subplot develops between Sara and Miles. Miles wants Sara to collaborate on his upcoming show, while the formidable Monique Delacroix (Jacqueline Bisset) pushes Sara to accept the lead role in Giselle. This creates a predictable conflict: Giselle offers prestige and career advancement, but accepting it would mean abandoning her commitment to Miles’ project. The film frames this as a major betrayal, conveniently overlooking the fact that a hip-hop guest lecturer presumably has access to numerous choreographers.
Where the original Save The Last Dance championed the idea that Sara could embrace both ballet and hip-hop without choosing, the sequel delivers a contradictory message: a choice must be made, and the “right” decision appears to be the one that best serves the film’s need for a commercially viable soundtrack. This feels like a hollow and dispiriting narrative turn, directly undermining the very elements that made the first film so special and heartwarming.
Despite these shortcomings, I’ll likely find myself watching Save The Last Dance 2 again. Its sheer accessibility on repeat television programming makes it an almost inevitable viewing experience for those moments of channel-surfing lethargy.
