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The franchise that launched Channing Tatum’s career limps its way to Las Vegas in “Step Up All In,” where characters with bum knees and broken hearts compete for a shot at a three-year casino dance contract.

With even less plot than in previous installments to get in the way of its inventive 3D dance scenes, this fifth pic delivers on spectacle — especially in its nine-minute, flame-throwing Caesars Palace finale — but lacks in chemistry, trying to pair the leads of the second and fourth films after their co-stars dumped them.

KH: All I want is to be lifted the way that Tyler [Tatum] lifts Nora [Dewan-Tatum]. It's just not a realistic thing for me to hope for. The movie that began this illustrious franchise devotes, by far, the least amount of screen time to actual dance numbers.

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Outshining the Samurai dance crew, Moose gains their animosity, but wins the respect of Luke (Rick Malambri), the leader of the Pirates dance crew.

(Dance Battle Spectator—uncredited), Chris Haemmerle (Under Ground Clubber—uncredited), Bailey Hanks (Tour Guide—uncredited), Dylan Hartigan (Scooter Kid—uncredited), Shaun Hasas (Hip Hop Man—uncredited), John Jillard Sr.

(Dance Fan—uncredited), Kathryn Jinx (College Freshman—uncredited), Tanzeel Kayani (Indian Bouncer—uncredited), Mari Koda (Jenny Kido—uncredited), Carly Lang (Samurai Crew—uncredited), Ralph Meyer (Toy Man—uncredited), Carolyn Alicia Moretti (Tourist—uncredited), Catherine Murillo (Hip Hop Girl—uncredited), Marlena Neal (Club Patron—uncredited), Juansito Pina (Hip Hop—uncredited), Chas Scherer (Press Box Patron—uncredited), Craig Scribner (Dance Battle Spectator—uncredited), Jimmy Smagula (Balloon Guy—uncredited), Shivani Thakkar (East Indian Classical Dancer—uncredited), Tieg Thomas (Extra—Washington Sq.

If there’s one genre to which 3D gives a pronounced leg up, it’s urban dance flicks. There’s a posh villain called Julian, needless to say.

Britain’s very own Streetdance 3D got there first, and was a surprisingly big hit; Step Up 3D is virtually the same outbreak of mass hip-hop set pieces, now afflicting New York. The cast look like test-dummy androids, and several of them overenthusiastically dance the robot. It’s all about the moves, and I count the film’s moronic perkiness as a plus: it could be the dumbest thing all year that I have to admit enjoying.

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