TrueJoshNight Truly Dreadful Film

Mjeteconer Just perfect...

Borgarkeri A bit overrated, but still an amazing film

Claire Dunne One of the worst ways to make a cult movie is to set out to make a cult movie.

john_meyer Great dancers deserve to be filmed by a competent director and crew. Unfortunately, this did not happen in "Ballet 422." I have had the good fortune to have seen hundreds of live performances; have watched hundreds more on TV, laserdiscs, and DVD; and have myself filmed over a hundred ballet performances. I therefore know a little about both the art of ballet, and the techniques for recording it.(P.S., I am also married to a ballet dancer.) What I have found over the past forty years is that there are no right ways to film a ballet, or a documentary about ballet, but there sure are a lot of wrong ways.This film seems to be an exercise in finding every possible wrong way to photograph dancers. Here are some examples: * The camera person seems to have an aversion to feet. Virtually every shot cuts off the dancers' feet and lower torsos, and by tilting the camera to far upwards, gives us vast, pointless shots of the ceiling.* I don't think I have ever seen an extended dancing scene in which the dancer is shown out of frame, with her arms occasionally appearing in the shot, only to disappear again. I am all for artistic shots, but if you're going to take a chance at doing something different, MAKE IT WORK!! This was just stupid and most definitely did not work.* Whoever edited this has no sense of continuity. They also don't understand when to begin and end a shot. This movie could be used in an editing class to show exactly what NOT to do when editing.* The lighting is awful. Yes, I know it is a documentary, and much of it is shot with available light. However, I also know that many of the shots required setup and WERE lit, or at least some attempt was made at lighting.* The ending shots, where the movies should come together is a completely pointless series of juxtapositions that make absolutely no sense.I don't think I have ever seen such an incompetent production, and this includes some high school films done by first-year students.The only reason I give it three stars instead of one is that the solo dancing is absolutely wonderful (although the group dancing is pretty sloppy and lacks coordination).So, if you do rent this, make sure you have a fast forward that works, and just watch the dancing and skip all the pointless and useless and incompetent footage that adds nothing but bloated, pointless time.Jody Lee Lipes (the director and main camera person) should not ever again be allowed anywhere near a camera, not even the one in his cellphone.

pinkpepper-16019 I came into this documentary with open arms as a previous critic here had left a glowing review. I love ballet. In another life, I would have pursued it as a profession. It makes a great foundation for the documentaries of late. Classical music combined with top-notch cinematography and beautiful movements--think David Gelb of "Jiro Dreams of Sushi."But this gave us all of that with no story. The audience barely gets any background. Justin Peck is set to choreograph a new ballet for the New York City Ballet. The ballet's name and substance is mysteriously hidden from the viewer. The dancers and outside collaborators also remain anonymous. I had a difficult time remaining engaged. While the dancers move beautifully and the process of creating itself so intriguing, without any commentary from the "characters" in this lack of "story," I was left bored and unfulfilled. I suggest watching it during some downtime or while doing chores, because there are moments that you cannot help but watch. But others, less worthy, are left, perplexingly, uncut. We stare for what seems likes minutes on end at the minutely expressive faces while they look on at the real action to see.

Kay Pot From first rehearsal to world premiere, BALLET 422 takes us backstage at New York City Ballet as Justin Peck, a young up-and-coming choreographer, crafts a new work. BALLET 422 illuminates the process behind the creation of a single ballet within the ongoing cycle of work at one of the world's great ballet companies.New York City Ballet, under the artistic direction of Ballet Master in Chief Peter Martins, boasts a roster of more than 90 elite dancers and a repertory of works by many of the greatest choreographers in the history of the art form. When 25-year-old NYCB dancer Justin Peck begins to emerge as a promising young choreographer, he is commissioned to create a new ballet for the Company's 2013 Winter Season. With unprecedented access to an elite world, the film follows Peck as he collaborates with musicians, lighting designers, costume designers and his fellow dancers to create Paz de la Jolla, NYCB's 422nd new ballet. BALLET 422 is an unembellished vérité portrait of a process that has never before been documented at New York City Ballet in its entirety.

dbborroughs A look at the creation of a new dance (number 422) for the New York City Ballet by choreographer and dancer Jonathan Peck. We watch as Peck goes from commission through creation to performance.How much you like the nuts and bolts of dance will determine how much you like the film. Personally I'm not a ballet fan so much of the creation segments bored me. I had no idea what they were talking about and watching some things over and over again wore on me.At the same time seeing the completed piece was magical as was the kicker of seeing how Peck had to create the dance while at the same time maintaining his training as a dancer for the Ballet- his piece premieres as part of an evening of dance and he then had to race to get into costume to dance.I know many dance fans who saw this, like I did at Tribeca, who loved it. I know just as many people like me who liked bits.Worth a shot for the dance fans out there, all others its up to you.