Films #99-100: Crossroads (2002) & Burlesque (2010)

film 99 crossroads

Ratings: Crossroads, 2/5; Burlesque, 3/5

“All we have is now, and right now we have each other.”
“I will not be upstaged by some slut with mutant lungs!”

One hundred films watched, finally – and what better way to hit the milestone than to celebrate with a 90s-pop-star-to-movie-star-showdown? Yes, it’s Britney Spears in Crossroads versus Christina Aguilera in Burlesque, with a dash of Cher thrown in for good measure. It goes without saying these are cheesy movies but, despite the suggestively low-to-average ratings, they’re both great fun (if you’re that way inclined, I suppose).

First up: Crossroads. Britney is Lucy, virginal do-gooder and all-round nice girl with some abandonment issues thanks to her mother leaving her as a young child. She and her two childhood friends had buried a time capsule many years ago, but as the years passed, these three best friends have grown up, and grown apart. Lucy’s a smokin’ hot dork, Kit (Zoe Saldana, long before carving a name for herself in some of the biggest movie franchises around) is a rich bitch with mummy issues, and Mimi (Taryn Manning) is pregnant by some loser. But it’s finally their high school prom, and the three temporarily put aside their differences to open the box and remember their hopes and dreams. This, naturally, leads to the three embarking on a road trip to LA in a classic convertible with a handsome older man, Ben (Anson Mount) who may or may not have just been released from jail for murder. It’s a coming of age roadtrip movie – they’re all at the crossroads of their lives, you see?

The film is shoddy, to say the least. The plot makes little or no sense, and the characters react in ways that never consider the big picture: the girls find out that Ben may have killed someone while on their road trip, yet continue to antagonise him at every given moment. They may be freaking out in the motel bathroom that they’re going to be murdered and buried in the desert, but two minutes later they’ve apparently forgotten the entire thing. Mimi is planning on going to LA to compete in a recording contest, but develops stage fright the first second she has to sing in public, and almost instantaneously hands over the mike to Lucy and forgets her dream. Kit oddly switches between stereotypical black girl (saying things like “y’all” and getting shouty when drunk) and prim white rich girl. Lucy is a wallflower, but the second she puts on a denim mini-skirt she suddenly becomes a raunchy, pole-dancing showgirl. Ben has no personality whatsoever, but is generally pleasing to the eye so gets away with throwing tantrums in the desert. He also listens exclusively to heavy metal, but writes the music to one of the soppiest pop songs ever (Britney’s mediocre soulful hit, I’m Not a Girl, Not Yet a Woman). This does at least, lead to one of the most cringeworthy moments in the whole movie, when he plays the song to Lucy on a white grand piano, as she does that classic 90s, breathy “na na na na” singalong. Yes, there are plenty of moments to groan through and laugh at.

There’s very little actually good about Crossroads – the acting is perfunctory at best (as the biggest name after Britney, Dan Aykroyd sleepwalks through his role as her dad), the narrative incoherent, and one important scene is marred by the constant disappearance and reappearance of a toothbrush in Mimi’s hair. The biggest problem, however, is that the girls are supposed to be eighteen – and therefore adults – yet look and act like they’re about thirteen. Meanwhile Ben is, admittedly, older, but looks a good ten years older than these teens, making the whole thing more than a little uncomfortable. It’s also a surprisingly dark movie – although the overarching themes are ultra-cheesy (friendship, family, finding yourself, growing up) the individual characters’ stories include parental abandonment, cheating, potential murder and rape, with pregnant Mimi in particular suffering a number of harrowing blows. It adds another layer of awkwardness to the movie, which seems to be confused as to who its target audience is: the tweens who love Britney as a pop star, or the young adults who are her actual age. Consequently, it fails to really appeal to either – but as a nostalgic throwback to a time when double denim was the height of fashion, it’s camp, stupid, unintentionally hilarious, and very entertaining. I’m Not a Girl is still a terrible song though.

film 100 burlesque

Next up: Britney’s rival, Christina, in Burlesque. Capitalising on the sudden resurgence of burlesque as a female-empowered, ultra-glamorous performance art, the film sees Ali (Aguilera) packing her things and leaving her small town for the lights and sights of LA – whereas Lucy’s journey ends at the City of Angels, Ali’s begins there. We learn nothing whatsoever about Ali’s homelife – she doesn’t appear to have any family or friends, for example. In LA she tries to make it as a singer-dancer, but isn’t having any luck until she happens upon the outwardly understated Burlesque club (that’s what it’s called, apparently) and instantly falls in love with the razzmatazz and spectacle of the whole thing. Luckily she walks in just as the club’s owner Tess (Cher) is singing a conveniently informative song all about burlesque and what it can offer you. Determined to make it, Ali becomes a waitress at the club, learns all the routines, befriends hunky (possibly gay) bartender/songwriter Jack (Cam Gigandet wearing some guyliner) and waits for her chance. Luckily the club’s lead dancer is an unreliable, spiteful alcoholic, and it’s not long before Ali is saving the day by singing live rather than lipsynching to songs.

Burlesque has one massive, glaring problem: it has almost no burlesque in it. The club is not a bump-and-grind venue, but a cabaret show – the girls don’t take their clothes off, because this is a 12A-rated movie; instead they perform vaguely risqué dance routines to famous songs, while wearing glamorous, moderately revealing showgirl outfits. It’s burlesque for the High School Musical generation – clean cut and harmless, inoffensive but slightly titillating. In many ways, Burlesque is most reminiscent of Coyote Ugly – it follows a very similar storyline and also makes the seedy reality of “making it in Hollywood” seem glamorous and empowering.

Where Burlesque works, however, is in its campness. It seems to embrace this wholeheartedly; it’s like Chicago, but cheesier, with Stanley Tucci stealing the show as Tess’s gay best friend/ right hand man, and Alan Cumming channelling Joel Grey’s compere character in Cabaret. Plus, it’s got gay icon Cher at the helm. She swans around in super high heels and high-cut leotards, sings heartfelt songs without moving a muscle in her face, and looks strangely younger than people twenty years her junior – it’s truly bizarre to think that she was sixty-four in real life! The shame of the movie is that she never gets to sing with Christina. Like her or not, Aguilera’s voice is incredible, and the second she opens her mouth to sing the star quality shines through – she puts Britney to shame, by the way. Meanwhile the songs are frequent – this is far more a musical than Crossroads – and energetic, with the whole movie taking on a far more light-hearted, upbeat tone than Britney’s soul-searching tour de force.

That’s not to say Burlesque is necessarily a good film – there’s plenty that doesn’t make sense. Like Crossroads the screenwriters seem to have a really strange grasp of time: events seem to take weeks, yet actually happen in an evening; others seem to take minutes but span months. Also like Crossroads, it involves the man-candy writing a song for the pop princesses, and like Crossroads the song sounds absolutely nothing like any of the other songs that man either listens to or plays. And, whereas Britney’s Lucy is saccharine sweet, Christina’s Ali is frequently a bit of a brat. But Burlesque works because it has more established actors who are clearly enjoying their roles and embracing the cheesiness, and generally the film feels less overwrought than Crossroads – it’s designed to be fun, and fun it is.

So, in the epic battle between these two former superstars, who comes out on top? Christina’s voice is better, Burlesque‘s narrative is marginally more coherent, the acting better simply because of its self-awareness, and the spectacle is definitely better. It also has one of the most outrageous seduction scenes. Yet Crossroads also has a ridiculous seduction scene, and it’s got Britney’s trademark cute-but-sexy thing working for it, and it’s so stupid and so incoherent, and the songs are pretty dreadful, and the characters equally rubbish… To be honest, it’s a tough call, but together they make for a truly epic double bill.

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2 thoughts on “Films #99-100: Crossroads (2002) & Burlesque (2010)

  1. I’d heard things — not good exactly, but positive — about Burlesque, so quite want to see it. Also, Stanley Tucci does steal every film he’s ever in, really. As for Crossroads, even I don’t have the stomach to sit through that. Good reviews!

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