It’s a film that continues to feel appealing, despite some familiar plot devices and other shortcomings. Dance occasionally appears on screen, and this movie shares similarities with others revolving around ballroom dancing and major competitions—"Shall We Dance" immediately comes to mind, among others. Baz Luhrmann directed it, and while it's considered one of the less celebrated works in his filmography, that doesn’t diminish its merits: it is certainly an enjoyable watch, and the story remains fresh. It’s not necessary to outline the plot, which involves a young person facing intense pressure to win a significant dance competition and developing a relationship with their new partner, who also becomes their girlfriend. This individual wants to dance freely, without being bound by rigid steps and routines. This challenges the president of the Australian Dance Federation, who views this creativity as defiance against ballroom dancing conventions. The film functions effectively as a romantic comedy, featuring clever and engaging moments that work exceptionally well. The energy and exuberance are infectious, contributing to a brisk pace, but the romantic storyline is predictable and relies on clichés to an almost ridiculous degree. While the script has its flaws, they’re largely offset by the actors' solid and noteworthy performances. Let's overlook the fact that even Fran, played by Tara Morice, wears glasses that feel like a trope from a soap opera, and instead appreciate her work: it may not be worthy of an award, but it is certainly commendable. Paul Mercurio, in the lead role, comes across as aloof and even impolite toward his partner and others. It’s also true that he lacks charisma (perhaps explaining why this actor hasn't achieved greater success), yet he establishes a positive working dynamic with Morice, and they develop a harmonious partnership together. The supporting actors fared better with their roles; Bill Hunter is given an interesting character with grotesque but well-developed aspects, and Pat Thomson also delivers a good performance. Technically, the film excels, not only for its excellent soundtrack—I’d particularly like to mention the version of “Time After Time,” a classic that lingers in the minds of those who experienced the 80s and 90s—but also for the quality of the sets, costumes, and props. I'm unsure if the film had a substantial budget, but it’s clear that significant resources were invested in these elements, especially in creating the locations and designing the dresses and dance costumes used during the competition scenes.

Source on TMDB