Very very predictable, including the post credit scene !!!

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

. . . or dances that first started when really old people alive today were kids, such as the Twist or Monster Mash. But it is interesting to watch this for the cultural history of our great grand parents, and not just for the dance moves, but also the costumes (the dancing pair wear many different ones; this 10 minutes, 45.26 second short most likely was not shot in one take). The guy wears a Zorro suit for the Tango section (only without the mask), and a really wide sash or belt that looks totally crazy by today's dance floor standards. The chick's shining black dress for the final Rhumba segment is pretty slinky and appealing, though the catchiest song is the Mexican waltz, the Chapanakis, what with all the clapping and mariachi band and everything. So kudos to the antiquarians of long ago who preserved this film till it could be digitized and show young people of today what their ancestors did for fun in Millard Fillmore's day.

Narrated by Art Gilmore and directed by Jean Negulesco for Warner Bros., this is a short illustrating the various dance tempos throughout the '20s to '40s era.Among the dances, the Tango and Rhumba stand out as the most exotic displays of ballroom dancing--but there's also the One Step (1917), Charlston ('20s), Black Bottom, a popular Mexican waltz, and the Jitterbug.Veloz and Yolanda give all the dances some extra flavor with their darkly Latin looks and body movements that flow with the music in a way that all great dancers are capable of. But the best segment is the exotic movements to the Rhumba.Strange to see Jean Negulesco, a director later known for his strong dramatic films (JOHNNY BELINDA, ROADHOUSE), rather than musicals, but this must have been at the start of his career at Warner Bros. There is no story angle at all, just the dances.