Move over, Jennifer Lawrence and Bradley Cooper. Hang ‘em up, Emma Stone and Ryan Gosling. Colorado’s Mandy Moore is now tearing up the dance floor with a couple of adorable teenagers named Benjamin Pajak and Trinity Jo-Li Bliss.

Oh, and Tom Hiddleston and Annalise Basso, too.

Moore, whose one-way star has never gone anywhere but up, is, in the words of Hiddleston himself, “one of the world’s absolute best choreographers.”

And what the Summit High School grad pulls off in the glorious new Stephen King film “The Life of Chuck” just might be her best work yet. Which is saying something, given that her canon includes “Silver Linings Playbook,” “La La Land,” “So You Think You Can Dance” and the Taylor Swift “Eras Tour.”

The magazine Marie Claire describes “The Life of Chuck” as “an invigorating drama about doomsday and dance,” and declares flat out: “It wouldn’t work without Mandy Moore.” Why? “Because dance is the emotional heart of the entire film.”

No pressure.

The whole movie, which follows one man’s heartbreak from childhood through the end of the world, hinges on a six-minute sequence. Hiddleston’s unassuming accountant character (Chuck) stops while walking past a busking jazz drummer who triggers something buried deep in his past. Chuck spontaneously breaks into a fantastic and fantastical dance routine with a total stranger (Basso). It incorporates swing, bossa nova, mambo, cha-cha, salsa, ballroom, foxtrot and more. A second, completely charming dance number featuring Pajak and Jo-Li Bliss illuminates the greater significance of dance in the life of Chuck.

Director Mike Flanagan called getting those numbers right “the biggest priority of the movie.” So he turned to none other than Moore, and why not? “Mandy, of course, is celebrated the world over because of her incredible body of work,” Flanagan says of the three-time Emmy Award-winner in a Neon promotional video for the film.

Moore, after all, masterminded the iconic opening scene of “La La Land,” which had 130 dancers leave their cars and turn a packed Los Angeles freeway into the world’s hottest dance floor. Moore was intrigued because unlike “La La Land,” “The Life of Chuck” is not a movie musical. Here, both numbers are essential plot points. 

Hiddleston, who has never been a professional dancer, knew what was at stake.

“I understood that this had to be a really amazing number,” he told Neon. “And when I spoke to Mike, I said, ‘We have to go big or go home.’ And he agreed.”

In preparation for filming in Alabama, Moore worked with Basso in L.A. and dispatched an associate to London to give Hiddleston a crash course on all the different dance styles. Flanagan’s direction was to prioritize exuberance over precision, Moore told the magazine, and her priority was to make the actors feel confident and free in their movements. She sent videos of potential moves and incorporated feedback, allowing the choreography and music to evolve together. Most of all, she wanted her actors to embrace the joy of dancing.

And then this magical thing happened,” Hiddleston said. Moore and Basso flew to London, “and we all spent a week together dancing all day every day with Taylor Gordon conducting the entire thing from behind a drum kit.”

With Moore and her associates by their side, Basso said, “I felt like I could do anything.”

The result is a completely unexpectable and uplifting cinematic moment that the audience is not meant to fully understand until we later see a much younger Chuck dance for the first time. It is already sure to become another celluloid signature in Moore’s choreography reel.

Hiddleston and Basso rehearsed daily for 50 days for six minutes of film that were shot in 47 takes.

“We burned holes in the souls in our shoes, which felt like a rite of passage,” Hiddleston told Neon. “We thought, ‘How do we get the two of us to a level where we can execute this extraordinary choreography, but also do it with total confidence and freedom and spontaneity and grace?”

He learned that if you dance every day, “it does something to your spirit,” he said. “This was certainly the most joyful experience I’ve had on a film.”

Moore, Hiddleston told the New York Times, “believes so powerfully in the transformative power of dancing. And I felt so safe with her.”

Moore grew up Breckenridge, 70 miles west of Denver. Her late mother was prolific Colorado stage director Wendy Moore. Sister Missy Moore is both the artistic director of the Thunder River Theatre Company in Carbondale, and she is starring in a production of “What the Constitution Means to Me” at Theatre SilCo from July 11-Aug. 3 in Silverthorne. Her father, Bob Moore, just played The Proprietor in “Assassins” for Sol Theatre Company in Carbondale.

Moore hopes audiences leave “The Life of Chuck” wanting to dance. “I hope they want to move their bodies and not feel all the judgment and the things that happen in life that make us not want to (dance),” she told Marie Claire. “I think it’s a huge part of what makes people human.”