Footloose 2011

In the quaint rural town of Bomont, Georgia, a group of teenagers are indulging in a raucous party filled with pulsating music, libations, and unbridled revelry. As the night wears on, five friends decide to take to the open road, with Bobby Moore (Blair Jasin) behind the wheel. However, his intoxication proves a fatal flaw as he loses control of the vehicle while attempting to steal a kiss from his girlfriend, resulting in a catastrophic collision with a truck that leaves all five young lives lost in an explosion of shattered glass and mangled metal.

Weeks later, Reverend Shaw Moore (Dennis Quaid), still reeling from the devastating loss of his son Bobby, stands before his congregation, his words laced with anguish and conviction as he confronts the town’s collective grief. The tragedy has left a scar that will take years to heal, but it also galvanizes the community to impose a strict ban on public gatherings, loud music, and all forms of dancing - a draconian measure that sends shockwaves through the small town.

Fast-forward three years, and Ren McCormack (Kenny Wormald) steps off a Greyhound bus in Bomont, carrying with him the memories of his former life in Boston. He has arrived to live with his Uncle Wes (Ray McKinnon) and his family, seeking solace in the aftermath of his mother’s passing. As he settles into his new surroundings, Ren is met with a stern warning from his uncle: “This ain’t Boston, boy - you need to keep your nose clean and stay on top of your schoolwork.” Uncle Wes also presents Ren with an old, beat-up VW Beetle, challenging him to restore it to its former glory. As Ren tinkers with the vehicle, he soon finds himself cruising down Bomont’s streets, the stereo blasting, only to be pulled over by a stern-faced local cop for playing his music too loud and disturbing the peace. The officer’s curt demeanor and the town’s draconian laws serve as a harsh awakening for Ren, who struggles to comprehend why something as innocent as loud music could be outlawed in this seemingly idyllic small town.

As the family attends church on Sunday, Ren’s gaze falls upon Ariel, the daughter of Reverend Shaw Moore (Andie MacDowell) and his enigmatic wife Vi. With her striking features and fiery spirit, Ariel leaves an indelible mark on Ren’s impressionable mind. Afterward, she fabricates a school project excuse to spend the night with Rusty (Ziah Colon), her supposed girlfriend, when in reality they’re eager to indulge in town-life frivolities, including a visit to Chuck Cranston’s (Patrick John Flueger) prized racing machine at the local speedway.

On Monday, Ren crosses paths with Ariel and Rusty, exchanging banter about his city-bred attire. A chance encounter with Willard (Miles Teller), a rugged cowboy clad in camouflage gear, unfolds into a spirited repartee that culminates in Willard’s candid revelation: the town’s dark past, where student fatalities three years prior led to a draconian ban on loud music, dancing, and revelry for youth. The once-thriving high school prom has become a relic of the past.

As Ren commences his job at the cotton gin, night descends upon the drive-in movie theater, where teenagers gather to indulge in forbidden pleasures: music and dance. Ren’s gaze is drawn to Rusty and Ariel, their carefree spirits infectious as they sway to the beat. Chuck’s jealous glare serves as a harbinger of impending drama. Reverend Moore’s sudden intervention, halting the revelry with an authoritative tone, leaves Ariel mortified and seething.

The next day, Ren appears before the judge for his traffic infraction, Uncle Wes speaking in his defense. The court’s verdict: a suspended sentence contingent upon Ren’s good behavior, lest he face incarceration. As the days pass, Ariel makes a surprise visit to Ren at work, requesting his attendance at Chuck’s daddy’s raceway. Ren, oblivious to the impending chaos, arrives to find himself pitted against Chuck in an adrenaline-fueled showdown of old school buses, their destruction and rivalry ultimately culminating in Ren’s triumphant victory.

The tumultuous days unfold, marked by a series of encounters that test Ren’s resolve. One fateful afternoon, a classmate named Rich proffers a joint, but Ren steadfastly declines. The librarian’s keen eye catches the exchange, prompting her to give chase down the hallway. Ren swiftly dispatches the evidence into the toilet bowl and is subsequently summoned to the principal’s office. He recounts the truth, insisting that the substance was not his own and he had no intention of indulging. His gymnast credentials also come into play as he emphasizes his aversion to substances. The principal, appeased by Ren’s honesty, merely issues a stern warning. However, this reprieve comes at a cost, as Uncle Sam learns of the incident and unleashes a tirade upon Ren for defying authority and courting trouble.

Enraged and frustrated, Ren retreats to an abandoned garage, where he indulges in music, beer, and a cathartic release of pent-up emotions. Shirtless and unencumbered, he allows his gymnastic prowess to shine as he performs aerial flips, temporarily exorcising his inner turmoil. The door swings open, and Ariel enters the space, drawn by the commotion. As they converse, the shadows lengthen, and she ushers Ren to an abandoned train car, affectionately dubbed “The Yearbook” due to its walls adorned with poignant quotes, lyrics, and poems. This sacred sanctuary provides a haven where self-expression knows no bounds, unfettered by the strictures of Bomont’s laws.

Later that evening, Ariel leads Ren to the railroad tracks, where she deliberately positions herself in harm’s way as a train approaches. Ren’s anguished cries and desperate pleas fail to deter her from her suicidal trajectory. Just as all hope seems lost, he leaps into action, grabbing her and propelling her clear of the onrushing train. Incensed by her recklessness, Ariel reveals that she has been consumed by a reckless abandon since the loss of her brother.

Days pass, and Ren’s group embarks upon a road trip to Atlanta, bound for the Cowboy Bar, where they indulge in live music and country dancing. Willard’s reluctance to participate in the revelry is assuaged by Rusty’s assurances that no fighting will ensue. However, when a cowboy solicits Rusty’s partner, Willard’s jealousy boils over, prompting him to cut in and ignite a brawl. Ren, Ariel, and Rusty make their exit, leaving the commotion behind as they cross the bridge where tragedy struck, reflecting on the devastating consequences of that fateful day.

As Reverend Moore (character) pays a visit to Uncle Wes at his car dealership office, he expresses his deep-seated discomfort with Ren’s presence around his daughter. With an air of sternness, Moore demands that Uncle Wes take measures to keep Ren away from his offspring, citing concerns about the young man’s unsavory influence. However, Uncle Wes takes a more measured approach, sharing with Moore the hardships Ren has faced in the past - the loss of his mother to leukemia and the abandonment by his father, leaving him to care for his mother until her passing. This revelation humanizes Ren in Moore’s eyes, but ultimately fails to sway the reverend from his decision.

Days later, Ren seizes the initiative, determined to change the status quo. He decides to gather a petition to present to the town council, seeking to repeal the law prohibiting dancing and bring about a long-overdue prom for his senior class. With Uncle Wes and Aunt (character) signing on in support, Ren’s mother would have been proud of her son’s unwavering dedication.

Meanwhile, Willard confides in Ren about his inability to dance, stemming from a lifelong fear of embarrassment. Ren, ever the empathetic friend, takes it upon himself to teach Willard the ways of dance, accompanied by his two nieces (character). Through a montage sequence reminiscent of their previous adventures, Willard gradually becomes an accomplished dancer, empowered by his newfound ability to share in the joy of movement with his girlfriend, Rusty.

In a dramatic turn of events, Ariel encounters Chuck at the local race track, where she ultimately decides to end their tumultuous relationship due to his possessiveness and jealousy. His reaction is far from dignified, as he resorts to verbal abuse and physical violence, leaving Ariel battered and bruised. In a fit of rage, Ariel retaliates by destroying Chuck’s truck with a pipe, shattering the headlights and windows.

As Reverend Shaw (character) catches sight of Ariel’s injured state at church, his immediate assumption is that Ren is responsible for her condition. However, Ariel sets him straight, revealing that Chuck is the true culprit behind her beaten state. This revelation sparks a heated exchange between the two, during which Ariel confronts the reverend about his tendency to blame others for problems, echoing the way he had previously attributed all of Bobby’s (character) troubles to external factors.

In a candid conversation with Vi later on, Reverend Shaw comes to realize that the community’s hasty changes in response to the tragedy have been misguided. Vi reminds him that his primary obligation lies with his daughter and the congregation, cautioning against overreacting to the challenges they face.

As the town council meeting unfolded, Ren seized the opportunity to quote scripture given to him by Ariel, declaring that there’s a time for dancing. He petitioned the council to either repeal or suspend the law prohibiting public dance, allowing Bomont High students to host their senior prom without fear of reprisal. Predictably, Reverend Shaw opposed the request, warning of the perceived spiritual corruption that dance would bring to their community. Ren’s plea was swiftly rejected.

The next day at work, Ren’s boss casually pointed out that the cotton gin they were discussing actually lay just beyond the city limits in Basin, not Bomont. His suggestion sparked a solution: why not host the prom at the cotton gin in Basin, where dancing wouldn’t be an issue? This clever workaround piqued Ren’s interest.

That evening, Reverend Moore rehearsed his sermon in the chapel when Ren unexpectedly appeared, listening intently. When Moore noticed him, he paused and engaged in conversation. Ren confided that he was planning to attend a dance at the cotton gin in Basin with Ariel as his date, promising to treat her with respect. He emphasized that the dance held great significance for him, but Ariel’s importance far outweighed any party. Ren left it up to Moore, saying, “You gotta do what you gotta do,” before departing.

On Sunday, Reverend Shaw preached about personal responsibility, emphasizing the need to trust and let go. He announced that the senior class would be hosting a dance in Basin, despite the law banning music and dancing, hoping the community could rally behind their cause. Ren and Ariel exchanged knowing glances with their peers as they smiled and cheered in agreement.

As the big day approached, students converged on the cotton gin to transform it into a beautiful venue. They worked tirelessly to sweep, clean, and decorate, eventually raising the lights to reveal their handiwork.

Meanwhile, at her home, Ariel prepared for the dance under her mother’s watchful eye. Her mom complimented her appearance, presenting a corsage with a mysterious origin: “It isn’t from me.” The implication was clear – Reverend Moore had played matchmaker once again.

As Ren’s car pulls into view, Ariel emerges from her home, a radiant vision that leaves him momentarily speechless. She sashays out to greet him, but their encounter is delayed by the stubborn door of his vehicle. Undeterred, Ariel employs her charms to persuade Ren to lift her and slide her into the passenger seat through the window - a move that would have been deemed impossible for anyone else. Watching from the confines of their own home, Reverend (name) and Vi observe the scene with amusement, with Vi remarking on Ariel’s smooth execution.

The unlikely couple arrives at the dance, where they’re greeted by an unexpected sight: the absence of dancing. Ren and Ariel take it upon themselves to remedy this situation, launching into a lively routine that soon draws in others from the crowd. The atmosphere transforms, with music filling the air and couples spinning across the floor. Meanwhile, Willard and Rusty arrive at the party, only to be beset by Chuck and his cohorts, who descend upon them like vultures. As Rusty cries out for Willard to defend himself, she pleads, “Beat the hell out of ‘em!” - a plea that Ren and Ariel happen to witness as they step outside for some fresh air.

In a flash, Ren, Willard, and their allies charge into battle against Chuck’s gang, sending them fleeing in disarray. As order is restored, Ren and his friends return to the dance floor, where he declares, “Let’s Dance!” The party erupts once more, with confetti raining down as the camera pans out to capture the joyous scene - a fitting finale to this tale of love, laughter, and rebellion.