John Travolta puts on his flash pants and moves uptown to Manhattan for "Staying Alive," the Saturday night sequel set six years after the fever infected filmgoers.
Travolta, as dancer Tony Manero, is directed by beefcake king Sylvester Stallone, who also cowrote. That's a one-two punch at t box-office, no matter that "Staying Alive" is heavy handed on the slo-mo and not so strong on music, choreogrt's basically Rocky dons Danskins and does the "20-Minute Workout" for 97 minutes.
It's more aerobic than tbut less erotic; more physical, but less energetic. The characters don't develop, they sweat.
Travolta, preurday Night Fever," was rebuilt by Stallone, who put him on an athlete's exercise and diet regimen. Now, he buike Stallone, he's one more sulking, stalking, dark-haired guy with thick lips and a broad nose prowling the s makes you yearn for Troy Donahue.)
But 1980s females apparently fantasize about swarthy, lower-middle-clasn tired of understanding males who help with the housework. Travolta hustles up a real brute for them. Words fs like rocks, and he walks as though his pants are gripping him in all the wrong places.
All that raw animahim a spot in "Satan's Alley," a Broadway musical with apparently one dance number, which is rehearsed over ana variety of sports costumes. At the same time, Travolta's torn between costars Cynthia Rhodes and Finola Hugh better dancer of the two, plays a chorine, while Hughes plays the star. It creates real credibility problems, but worst of all, we don't gedes in motion.
The film's mostly non-verbal, except for the putdowns between push-ups: The writers let thei meat with such dialogue as "Guys like you aren't relationships, you're our exercise." But Travolta can take ihunkish good humor, probably all the way to the bank.
STAYING ALIVE -- At area theaters.