An entire squaggle of middlers 'stepped up' for this all time classic romp. On the downside this is no 'Honey. Some of the chicks looked like they should be en-fenced. All is not lost however, this version shits on 'Step Up' and 'Step Up Two - Take It To The Streets', although the latter has a much much cooler name.

In summary, 'Step Up 3 - Take It Back Inside' has enough side boob and velour derrière to enrapture boys from 12.5+

Cinema of agility in its purest form. Bliss.

This movie is absolutely horrible. The acting is terrible, the use of speed ramping is terrible, and the story is nonsensical. Still, there is one thing about this film that makes it a must see. As this installment in the prestigious Step Up series is shot in 3D, there are plenty of moments that are ridiculous when watched in glorious 2D. There are multiple times when the lens is splattered with different liquids, and the slurpee scene has to be seen to understand just how stupid it is. Step Up 3 sets a new low for dance centric films, but still, it is a rather hilarious train wreck.

Like a porno, the plot of this film is secondary. It is clear that it's intended to be seen in 3D; the camera work constantly reminds you that you're missing that extra dimension. The dancing is creative and astounding; in 3D maybe it would blow your mind. I preferred Step Up 2; it had a better balance between dance and story.

"Dance has a vocabulary". And dance cinema has a visual grammar: clean, sensible compositions, action held from a distance in long shot, an elegance of movement within a largely static frame. The physicality on display here is and should be the focus of the image, and Chu, as is (or was) his wont, happily obliges, making superb use of visual space (though shooting for 3D sometimes produces a certain flattening effect that obstructs the clarity of the image). The Rogers & Astaire number is sublime.

One of the most visually astonishing films in years. I've got big plans for writing on this stylized gem.

I enjoyed this to some extent, especially its occasional single-take performance pieces that deliberately evoke the classical Hollywood musical. But this is otherwise nothing more or less than an average FAST & FURIOUS movie, but with dance-offs instead of car races.

Less character development, more dancing. This is how it should be.

Cool dancing-story was nothing new. I pretty much just fast-forwarded all but the dance numbers, and I could still tell you the whole story. Pretty easy to fill in those blanks.

This has the best dancing and the silliest story of the series so far. Thus: my favorite. Wish I'd seen it in 3D.

The technical achievements completely transcend the cliches and structural formulas of the script. Plus - good dancing is awesome.

"Dance has a vocabulary". And dance cinema has a visual grammar: clean, sensible compositions, action held from a distance in long shot, an elegance of movement within a largely static frame. The physicality on display here is and should be the focus of the image, and Chu, as is (or was) his wont, happily obliges, making superb use of visual space (though shooting for 3D sometimes produces a certain flattening effect that obstructs the clarity of the image). The Rogers & Astaire number is sublime.

i'm working on it

Cinema of agility in its purest form. Bliss.