Film Review: ‘Make Your Move’

'Make Your Move' Review: Derek Hough,

A slick, disposable soap opera about two dancers falling in love against Brooklyn's underground club scene.

“East-Meets-West Side Story” might have made a clunkier but more interesting title for “Make Your Move,” a slick, disposable soap opera about a poor white boy and a spirited Korean girl who fall in love despite hailing from rival corners of Brooklyn’s club scene. Wringing yet another variation on the boy-hoofer-meets-girl-hoofer formula that fueled his screenplays for “Save the Last Dance” and “Step Up,” writer-director Duane Adler weaves an overly tangled web of resentment, betrayal and thuggish violence around his attractive two leads (“Dancing With the Stars” champ Derek Hough and pop star BoA), both of whom display almost enough fancy footwork to overcome the cliches they’ve been saddled with. Theatrical biz will be limited, but this amiable time-filler could have ancillary legs, particularly among the Asian-American audiences being targeted.

A genial, tap-dancing ex-con from New Orleans, Donny (Hough) decides to skip out on his parole and hightail it to Brooklyn, where he hopes to score a dancing gig at Static, the hot underground club owned by his foster brother, Nick (Wesley Jonathan). But Nick is too stressed out and wary to give Donny the welcome he deserves; there’s competition in town, namely a slick new joint run by Nick’s former business partner, Kaz (Will Yun Lee), and funded by a Wall Street sleaze named Michael (Jefferson Brown) with more money than scruples. It’s not long before Donny finds himself caught up in Nick and Kaz’s bitter rivalry, especially when he falls for Kaz’s sister, Aya (BoA), an equally gifted performer who leads a hip-hop dance troupe specializing in taiko drums.

While Michael lusts openly after Aya (referring to the Japan-raised Korean woman as “gourmet Chinese”), she and Donny are clearly kindred spirits, and not just because they look hot doing their 21st-century Astaire-and-Rogers routine on top of a bar counter. They’re both trapped — not only by their respective bossy brothers, but also by their limited options: It’s only a matter of time before Donny’s parole violation catches up with him, and Aya faces deportation back to Japan if she doesn’t land a dancing gig in three weeks. (That there are easier ways of obtaining a visa isn’t entertained for more than a moment.) Despite this, they’re doggedly determined to unlock their full potential as dancers, a goal complicated by their discovery that they make very good partners on and off the dance floor.

There are moments when the moves become so frenzied as to border on ridiculous, never more so than in an overwrought pre-coital makeout scene that, in its bid to update and outdo “Dirty Dancing,” feels more like a triumph of athleticism than an outburst of passion. Still, Napoleon and Tabitha Dumo’s choreography is consistently arresting, cleanly shot by d.p. Gregory Middleton, mercifully not shredded into a hundred pieces by editor Melissa Kent, and backed by a propulsive soundtrack of songs written specifically for the movie (many of them by composers Michael Corcoran and Eric Goldman). Slick production values aside, there’s something admirable about how thoroughly “Make Your Move” commits to shaping its characters as much through music and body movement as through story and dialogue  a wise decision, given how lacking the movie can be in the latter department.

Hough, the brother of dancer-singer-actress Julianne Hough (“Footloose,” “Rock of Ages”), shows more than enough charisma here to fill the leading-man bill; BoA, though no less appealing, is more constricted, especially by the seemingly phonetic quality of her performance. The story that swirls around them is a strenuous and familiar one, full of implausible feats of oneupsmanship and lots of gratuitous macho posturing, but it is interesting for what it says, however fleetingly, about the desirability of Asian women and the compulsive need for certain men to keep them in their place. “Make Your Move” doesn’t entirely liberate Aya from this schema this is, in the end, a primarily reactive role  but it does keep her moving too long, and too fast, for anyone to pin her down.

Film Review: 'Make Your Move'

Reviewed on DVD, Pasadena, Calif., April 18, 2014. MPAA Rating: PG-13. Running time: 109 MIN.


A High Top Releasing release of a CJ Entertainment, S.M. Entertainment, Robert Cort production in association with BMC Investment, Sovik Venture Capital, AVEX Entertainment. Produced by Soo Man Lee, Patricia Chun, Robert W. Cort, Eric Hetzel. Executive producers, Miky Lee, Katharine Kim, Mike Suh, Young Min Kim, Nikki Semin Han, Sung Ho Lee, Daniel Jason Heffner, Tony Blain, Sangyong Sean Lee. Co-producers, Francis Chung, Keo Lee, Mina Jungmin Choi, Nian Aster.


Directed, written by Duane Adler. Camera (Deluxe color), Gregory Middleton; editor, Melissa Kent; music, Michael Corcoran, Eric Goldman; music supervisor, Joel C. High; production designer, Anastasia Masaro; art director, Elis Lam; set decorator, Patricia Cuccia; costume designer, Alex Kavanagh; sound (Dolby Digital/Datasat/SDDS), Greg Chapman; supervising sound editor, Nelson Ferreira; re-recording mixers, Keith Elliott, Andrew Tay, Mark Zsifkovits; special effects supervisor, Jeff Skochko; senior visual effects supervisor, Taehun “Iro” Kim; visual effects supervisors, Euidong Park, Jangjin Park; visual effects, Next Visual Studio, Roto Visual Studio; choreography, Napoleon Dumo, Tabitha Dumo; stunt coordinator, Shelley Cook; associate producer, Ketura Kestin; assistant director, Elizabeth Scherberger; second unit camera, Richard Rutkowski; casting, Alyssa Weisberg, Stephanie Gorin, Karen Meisels.


Derek Hough, BoA, Will Yun Lee, Wesley Jonathan, Izabella Miko, Jefferson Brown, Dan Lauria, Rick Gonzalez. (English, Korean, Japanese dialogue)

Filed Under:

Want to read more articles like this one? SUBSCRIBE TO VARIETY TODAY.
Post A Comment 2

Leave a Reply


Comments are moderated. They may be edited for clarity and reprinting in whole or in part in Variety publications.

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

  1. This movie makes no appologies for what it is and doesn’t try to be anything more than that. Yes, the script was weak. But the diologue that was present in the choreography more than made up for that.
    As far as BoA, English isn’t her native tongue, it’s not her second language either, it’s her forth.
    The woman can speak Korean and Japanese fluently, can perform in Mandarin and now in Enlgish. I think she did very well and her shortcomings in the language fit the part she was playing perfectly.
    All in all I loved it.

  2. Well what exactly were you expecting from a dance flick. Definitely better then Step Up but falls just a bit short of Save the Last Dance.
    Derek and Boa I will say certainlly know how to dance though.

    Just came across some of Boa’s other material on Youtube and I have to admit. She is one hell of a dancer!! In fact that’s putting it somewhat mildly. Unusual for a recording artist these days.

    Well above the standard you usually see for pop artists. I find it rather amazing that an artist of her level isn’t more well known though. I have to admit that I wasn’t that big a K-Pop fan before.

    However Boa seems to be on a whole different level. This girl had major talent no question about that. I think given some better promotion this film could do better.

    It’s not West Side Story but then again why should it have to be. Still better then 90% of the other dance flicks with peope that can actually dance this time. Wow there is a concept isn’t it.

More Film News from Variety