Cebalord Very best movie i ever watch

ThiefHott Too much of everything

Ella-May O'Brien Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

Geraldine The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

klc-16 I honestly have to say that this is just about the worst movie I've ever seen. Oh, I suppose there was a B-level horror flick that MIGHT have been more awful...but at least THOSE films don't try and coast to oblivion on the wings of people of Minelli and Winters' status.There is not a single person in this film that you believe or care abut for a second, specifically since they are cardboard clichés from every good film ever made. Totally predictable, lacking in charm, verve, innovation, wit or originality ... it doesn't even have the sense to be a parody.I can't imagine how anyone on this site could have given it more than 3...the fact that there are only about 400 people who voted for it and around 18 people who bothered to make a comment shows you just how much of a flop this film is. Out of respect for those who wrote something nice here, I can only suppose that they are all related in some way or another to people who made or acted in this truly awful film. Someone called this "a bit of fluff"; more like a hairball...

movibuf1962 I loved "Stepping Out." If you chose not to, you're more than entitled (as people who hate so much around these websites are wont to say), but for God's sakes, get the facts right. The company of dancers in question does not "put on a show" in this movie. That's something that star Liza Minnelli's mother did in films over sixty-seven years ago. (Gosh, people's obvious prejudices against musical films is so sadly obvious here.) The company of working class, small community tappers PARTICIPATE in a benefit show already established by a haughty committee muckety-muck who makes her bias against Mavis Turner's awkward, beginning dance class painfully apparent. And there's your heartbeat of this very small, unassuming film. Shot on Canadian locations disguised to simulate upstate New York, STO is actually more in tune with the plot of A CHORUS LINE than any Mickey-Judy film. The obvious difference is that the dancers are not professional. They tap in a church hall after hours, after their regular jobs and family matters. It's their single emotional release, and the thing that makes them feel like kings. And while the film does not literally delve into the life of each dancer individually, it paints enough of an ensemble portrait to make you realize that these folks support each other, lean on each other, and love one another unconditionally, almost like a second family. I suppose the sentimental nature of that premise is too much for a lot of modern cynics to take, but there it is. Minnelli's plucky Mavis is the only real professional amongst them; she almost became a star, but didn't quite make it. Minnelli, in fact, has one lovely, CHORUS LINE-like moment in the film where she dances a solo to the title number (spotlight, mirrors, and all), then has to explain to a single eavesdropper how she briefly touched dance stardom before quietly, somewhat brokenly, retiring to Buffalo. But she truly believes in her dancers and is the perfect cheerleader and counselor to them in the end. And there is a fine, somewhat surprising epilogue which formally shows off the dance family- wonderfully represented by Ellen Greene, Andrea Martin, Bill Irwin, Julie Walters, Carol Woods, Jane Krakowski, Sheila McCarthy, and Robyn Stevan. It truly is a feel-good movie. In fact, it's a feel terrific movie.

childrenoftherevolution2000 Without doubt, one of the worst films ever made. Sluggish and without structure, tension or story, the film coasts on the thin premise of "putting together a show". Conflicts are resolved within two or three seconds of their inception and dialogue is random and incidental. Everything is put together in a slapdash order and often "Stepping Out" feels more like a deleted scenes reel than an actual movie. The film seems to exist merely as a showcase for gaudy and totally random Liza musical numbers. Shelly Winters can be seen in the far superior octo-epic "Tentacles", and the REAL Liza can be found in the Showtime release of "Queer Duck: The Movie".

mathewowen Stepping Out isn't commonly spoken of nowadays, which is a shame as the film is a brilliant combination of Shelley Winters' comedy, Liza Minnelli's stamina and voice and superb performances by the 'Mavis Turner Tappers'. The story is inspiring as a group of amateur tap dancers try to make it to the top, and I watch it whenever I feel depressed - It raises your spirits and confidence.