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The World Jam scenes are equally enjoyable, though the editing is much slicker to give coverage to as many people as possible. Chu also deserves credit for using long takes, dispelling any notion that the performances were 'sexed up' in the editing suite. Anyone who saw the VW advert which remixed Singing in the Rain will get a kick out of this, and the choreography is both very modern and a throwback to an age where every prop or piece of set would feature in a routine. The very best of these set-pieces comes around two-thirds of the way in, where Moose (played well by Adam Sevani) and Camille (Alyson Stoner) dance through the streets to a remixed version of 'I Won't Dance' by Fred Astaire. The decline of the all-round star, who could sing and dance as well as act, has meant that the only outlets for talented perfomers like these has been on the stage or coming through the much-mocked Disney system. If nothing else is true about these films, they are a genuine showcase for people who wouldn't otherwise be in the Hollywood spotlight. Chu (who also helmed the second film), some of these set-pieces are impressive in their own right.

It's not just the fact that the plot is weaker than the previous offerings, it's that the director seems so completely disinterested in the story and focusses all his attention on the individual set-pieces.

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What began in Step Up 2: The Streets has become magnified here, to the point where it is much less a film as a series of sub-MTV music videos. In my review of the original Step Up, I spoke about how its sequels 'increasingly sacrificed narrative for the sake of set-pieces'. In the case of Step Up 3, released just one year after James Cameron's bloated epic, even the most eye-popping 3D can't disguise the fact that its plot is a complete and utter mess.

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TV is undercutting the exclusivity of cinema in 3D and in other areas, and audiences increasingly recognise that 'an extra dimension' does not guarantee a special experience. The higher ticket prices and often dodgy glasses were excused on the grounds that home entertainment systems could not compete with seeing things come out of the screen in the company of several hundred people.ДЇive years on from the release of Avatar, we've started to see many aspects of this argument come under fire. 3D films, it was claimed, would save cinema because they offered audiences something that they could not experience in the comfort of their own homes. Interested in Digital Spy's weekly newsletter? Sign up to get it sent straight to your inbox вЂ“ and don't forget to join our Watch This Facebook Group for daily TV recommendations and discussions with other readers.When the current 3D wave was getting underway, many commentators were arguing for 3D films as a 'unique cinematic experience'.

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Access the latest edition with a 1-month free trial, only on Apple News+. 'Does Fat Amy have kids? Do Fat Amy and Bumper have a family? How cool would that be, in about five years to see what happens to all of these characters that you know and love.'Дigital Spy has launched its first-ever digital magazine with exclusive features, interviews, and videos. 'We wanna do it until we're old and we're acting in a retirement home,' she told Collider, adding they could catch up with the Bellas every five or ten years. So any kind of plot for Pitch Perfect 4 would have to engineer a way for the Bellas to get back together, hopefully not just for another competition.ДЄnna Camp has another idea for what future movies could be. Perhaps aware it was the final movie, every character got an ending вЂ“ such as Beca getting a job with DJ Khaled, Aubrey reconnecting with her father, Chloe getting accepted into vet school, Emily going back to Barden University and Lilly getting together with DJ Dragon Nutz.