Howdy all you Supercultists out there on the interwebz! I’m Bad Movie Professor Cameron Coker (BS in “Unnecessary Sequels” with a minor in “Being SERVED!”) and I’ll be posting my hype-tacular speeches every week along with some long lost speeches from past Supercult Shows!
This week Supercult revisits one of the first Supercult films we ever screened: Breakin’ 2: Electric Boogaloo!
They’re back…for everyone who believes in the beat! When a sinister developer tries to bulldoze a prized community recreation center the local breakdancers try to stop it the only way they know how! Hoppin’ and Poppin’, Breakin’ and Lockin’! The Breakdance Classic returns for an encore in Breakin’ 2: Electric Boogaloo!
Breakin’, released as Breakdance: The Movie or Break Street ’84 in some countries, is a 1984 dance film directed by Joel Silberg. The film was inspired by a 1983 German documentary entitled Breakin’ and Enterin’ set in the LA multi-racial hip hop club Radiotron. On top of being the first major breakdancing film and launching the careers of several hip hop and dance artists, Breakin’ was a fantastic financial success with a miniscule budget of just $1.2 million and a worldwide box office of over $57 million. It’s no wonder that the producers decided to make a sequel.
It IS surprising, however, that they made the sequel so quickly on the heels of the original. Breakin’ 2: Electric Boogaloo was released seven months after it’s predecessor and features many of the same actors from the original, such as Lucinda Dickey as Kelly, Adolfo Quinones as Ozone, and Michael Chambers as Turbo. Viktor Manoel, Ice-T, and Martika (who was little known at the time) also appear as dancers in the film. Sabrina Garcia, who played Lucia, a feisty Spanish dancer actually did not speak Spanish so all of her lines were dubbed by another actor. The soundtrack, like its predecessor, was provided by Ollie and Jerry, comprising the duo Ollie E. Brown and Jerry Knight.
Most critics rated the film poorly upon its release. Since then the subtitle “Electric Boogaloo”, originally a reference to a funk-oriented dance style of the same name, has become a pejorative nickname for unnecessary or unwanted sequels (Titanic 2: Electric Boogaloo, etc.). However, some critics, such as Armond White of the New York Press considered it to be “superb” and Roger Ebert gave it 3 out of 4 stars who said, “Here is a movie that wants nothing more than to allow some high-spirited kids to sing and dance their way through a silly plot just long enough to make us grin…”Electric Boogaloo” is not a great movie, but it’s inexhaustible, entertaining, and may turn out to be influential. It could inspire a boomlet of low-priced movie musicals — movies not saddled with multimillion dollar budgets, Broadway connections, and stars who are not necessarily able to sing and dance.”
Breakin’ 2 has a 4.8 on IMDB and a 20% on Rotten Tomatoes, but more importantly, it’s the original Supercult film. Riding high with expectations of success, both financial and critical, unaware of how awful it truly is. Yet that blissful ignorance gives Electric Boogaloo a charm and exuberance that other more self-aware films like Sharknado simply cannot provide. Rob Vaux of Mania.com says, “Its blithe self-confidence shows not the slightest inkling of just how terrible it all is: a wonderful kind of terrible that makes you weep for joy,” while David Cornelius of eFilmCritic.com says simply, “Best. Bad Movie. Ever.” We couldn’t have said it better ourselves!
If you can’t beat the system…break it!
The Supercult show is proud to present Breakin’ 2: Electric Boogaloo!