By Christy Castellanos, Staff Writer J. Lo’s booty called, and it’s overjoyed to know it’s actually being put to good use. Miramax’s Shall We Dance starring Richard Gere is the American remake of a superior Japanese film by the same name. It’s the story of a lonely lawyer named John Clark (Gere) who is unhappy and tired of his boring marriage and his humdrum job. The only thing keeping him motivated is his daily train ride, which let’s him watch for the sad, sad face of J. Lo’s character, Paulina. She stands behind the window of a place called Mitzy’s Dance Studio, and it’s inevitable that the melancholy and horny lawyer will end up at Mitzy’s. So after several copouts, he finally enters the studio and signs up for dance lessons. What started out as a journey led by his ‘manhood’ becomes a midlife search for happiness in a place the typical trial lawyer wouldn’t normally be seen. But as the story unravels, Clark finds that in addition to watching Paulina’s butt shake, he is also getting enjoyment out of ballroom dancing. When his wife (Susan Sarandon) figures out her husband is suddenly too jovial, she assumes he’s having an affair with Paulina. She hires a private eye (Richard Jenkins) who provides sensible advice and a charming sense of humor. Meanwhile, Clark is happily prancing around in the studio with two other left footed men and some other dancers. These supporting characters are played by newcomers to the silver screen Omar Miller, who portrays an overweight introvert, and Bobby Cannavale, in the role of a hunky macho homophobe. Soon, dance brings out the best in every character, and a few unexpected surprises give the script a good kick in the butt every time the story becomes predictable. The best character in the whole movie, however, is Clark’s boss. Played by Stanley Tucci, this closeted dancer looks like a lawyer by day and a Telemundo beefcake with a heavy bronze by night. Though J. Lo’s role as Paulina the misunderstood beauty is quite tiring, it must be said her role is appropriate. She dresses up the movie and her talents as a dancer are appropriately used. Unfortunately, her acting is choppy and it’s never really understood why she is such an unhappy woman. She lost one dancing competition and her whole life has somehow been ruined. The difference between this film and the Japanese version is the Japanese film is more intelligent, more amusing and further stimulating. Why? Because Japanese people don’t dance with strangers like we do in America! In Japan, ballroom dancing is looked down upon and most definitely not appropriate for a married man. That concept was lost in this movie, and it is almost insulting to say that taking dance lessons in this country would be a shameful thing for a working man to do. In spite of that aspect, this film is endearing. It would have been more fun to see Gere’s character played by an actor who wouldn’t normally be cast in a movie about dancing. The talented, supporting cast made this movie what it is: Almost all the characters are well-developed, and even have a back-story. But in true Hollywood fashion, their fates are sealed by an inevitably predictable ending in which they all end up exactly how we all knew they would. Shall We Dance is not the smartest or most sophisticated script, but something about it will make you feel good and might even convince some manly no-nonsense types to look into taking dance lessons – well, that is until they wimp out. Shall We Dance opens Friday in theaters.