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Stomp the Yard

Stomp the Yard

Drama · Music · 2007

After the death of his younger brother, a troubled 19-year-old street dancer from Los Angeles is able to bypass juvenile hall by enrolling in the historically black, Truth University in Atlanta, Georgia. But his efforts to get an education and woo the girl he likes are sidelined when he is courted by the top two campus fraternities, both of which want and need his fierce street-style dance moves to win the highly coveted national step show competition.

Movie details

Stomp the Yard

“He will challenge their traditions. Their traditions will change his life.”

2007 Drama · Music 1h 54m

Critical arithmetic

One number, for now.

TMDB

7.1 / 10

Community rating

After the death of his younger brother, a troubled 19-year-old street dancer from Los Angeles is able to bypass juvenile hall by enrolling in the historically black, Truth University in Atlanta, Georgia. But his efforts to get an education and woo the girl he likes are sidelined when he is courted by the top two campus fraternities, both of which want and need his fierce street-style dance moves to win the highly coveted national step show competition.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Stomp the Yard?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Sylvain White

Written by

Robert Adetuyi

Columbus Short

Columbus Short

DJ

Meagan Good

Meagan Good

April

Ne-Yo

Ne-Yo

Rich Brown

Darrin Henson

Darrin Henson

Grant

Brian J. White

Brian J. White

Sylvester

Laz Alonso

Laz Alonso

Zeke

Valarie Pettiford

Valarie Pettiford

Jackie

Court is in session

Put Stomp the Yard on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.