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The film is a cabinet of Y2K curiosities, and though it doesn’t aim higher than its station (this was the golden age of teen movies for the kids who grew up to be millennials, after all), it’s suffused with a certain kind of integrity of vision.
(It has a pedigree, too: The film is edited by Tariq Anwar and cast by Daniel Swee, who both would go on to work on Oscar-winning features.) The film is careful to balance the realism of struggling to make it as a dancer with the beauty and grace of dance itself; there are no dream sequences, no slow-motion, and very little non-diegetic music, because these dancers are in the business of creating a fantasy, not living in one already.
It is that opposite of fantasy the film is most engaged with.
While ballet requires a very rigid type of life — including a very specific type of body — dancers, like most people, come in all shapes and sizes.
See full summary » In Center Stage: On Pointe, Jonathan Reeves (Gallagher) is tasked with infusing more contemporary styles and modernism into the American Ballet Academy, and enlists his his top choreographers Charlie (Radetsky), Cooper (Stiefel) and Tommy (Wormald) to recruit dancers to compete at a camp where the winners will be selected to join the Academy.As remixes go, it’s tail-waggingly faithful, like a new stage production which keeps the rhythms of every scene and pumps them up.