The only, and ample, reason to see this is the dancing. And even that, as directed by Joel Silberg, is often badly framed and parcelled out in mere snatches rather than fully formed sequences. One such sequence, in which a dancer identified as Michael "Boogaloo Shrimp" Chambers performs a pas-de-deux with a broom (not the first terpsichorean in movies to use that implement as a dance partner), captures perfectly the effect of stop-motion animation that unites break dancers with such magical figures as King Kong, George Pal's Puppetoon character, Jasper, Art Clokey's Gumby, and nothing quite human. Presumably no actual frames were removed from the film to enhance the effect. The narrative framework is basically a terrible embarrassment designed to accommodate a slumming white girl. Her proselytism from the dance studio to the sidewalks would seemingly have been an excellent chance to initiate the audience, in perfect step with the heroine, into the mysteries of this subculture. Not only, though, is this chance allowed to zip past, but the girl's actual dancing after her matriculation scarcely clarifies the definition of the art form. With Lucinda Dickey and Adolfo "Shabba-doo" Quinones. (1984) — Duncan Shepherd