The year is 1978, and Bow Wow's character Xavier (X for short) heads up a small posse of roller skaters. Though initially somewhat interchangeable, each member of the gang eventually develops some distinctive features. Naps (The Rookie's Rick Gonzalez) is a Puerto Rican with an unwieldy Afro that makes him the butt of many hair jokes, despite the fact that virtually everyone else onscreen also has some degree of 'fro-ness. Junior (Brandon T. Jackson, a former extra) is the bigmouth who's always ready with an obligatory "Yo mama . . ." joke. Mixed Mike (Holes' Khleo Thomas) is the youngest and is half-white. And Boo (Marcus T. Paulk) is . . . well . . . he's not one of the other three.
The local South Side roller rink closes down early on, leaving the gang without a place to hang out. Eventually they make a trip to the North Side, where, at a place called Sweetwater's, they are surprised to see white people and horrified to discover the music of the Bee Gees. They also run afoul of an arrogant posse of skaters who work backup for the biggest star in roller disco -- a buff loverboy with an early-Prince look, who goes by the name of "Sweetness" (Wesley Jonathan). A challenge is thrown down, and our climax is set up: a roller dance-off is coming, pitting the teams against each other for a cash prize and -- more important -- bragging rights.
In classic teen-movie style, there are of course girls -- one a modest tomboy (Jurnee Smollett, best known as the title character in Eve's Bayou), and the other a cleavage-flaunting hottie (24-year-old Meagan Good, playing younger with a body that belies it).
Perhaps the best surprise in the cast is Nick Cannon, utterly boring in Drumline and Underclassman, but a standout here as a Sweetwater's clerk who dresses like Hendrix and makes out with white girls. Cannon had his own sketch comedy on Nickelodeon, and it may be a strength of his; despite his good looks, character acting may be the way to go.
Many of the music choices are obligatory and obvious: "I'm Your Boogie Man," "Le Freak," "Easy," and the horribly overplayed "Kung Fu Fighting." Other selections fare better -- Bill Withers' "Lovely Day" has never sounded so good. As if to remind the viewer that booty must be shaken, the camera almost excessively focuses on female rear ends. On the other hand, though, Roll Bounce seems to go out of its way to avoid offending family audiences with profanity.
Subscribe now to get the latest news delivered right to your inbox.