The words Magic Mike may conjure up images of sweaty, sculpted, undulating men, dancing unthreateningly for hoards of screaming women, but there has always been a backdrop of brutal economic reality looming over the fantasy world.
The unlikely franchise has explored the escalating devaluation of physical laborers, the suffocating effects of the college industrial complex, predatory loan businesses, recession and even COVID-19, which has effectively destroyed poor Mike LaneBԪַs furniture business in this latest film.
When we re-meet Channing TatumBԪַs gentle hunk in BԪַ ,BԪַ in theaters Friday, heBԪַs bartending at parties for the very rich in Miami. The gig could be worse, but though he doesnBԪַt quite say it, the implication is that heBԪַs even aged out of dancing now. He has to seriously think about it when his wealthy employer offers him $6,000 for a dance later that evening.
Asking why sequels exist doesnBԪַt usually produce satisfying answers, but BԪַMagic MikeBԪַs Last DanceBԪַ is a film that was born backwards, a fit of inspiration from Steven Soderbergh after seeing what Tatum had done with Magic Mike Live. The Las Vegas stage show, inspired by the first two movies, is described on its website as BԪַan unforgettably fun night of sizzling, 360-degree entertainment,BԪַ BԪַhot,BԪַ BԪַhilarious,BԪַ BԪַthe great time youBԪַve been looking forBԪַ and BԪַthe ultimate girlBԪַs night out.BԪַ
But BԪַMagic MikeBԪַs Last DanceBԪַ is not quite any of those things and perhaps might even annoy some of its most enthusiastic fans BԪַ the ones who simply want to holler at the six-packs in front of them. Because this film is that thing that many sequels promise but donBԪַt deliver on: ItBԪַs both a true evolution and a conclusion. ItBԪַs also part fantasy, part bleak reality, part commentary the fundamental value of dance and whatBԪַs lost in a society that has forgotten how. It is not, in other words, simply another striptease.
BԪַMagic MikeBԪַ and BԪַXXLBԪַ (directed by Gregory Jacobs) both latched on to a kind of pure joy in the spectacle of the male stripper. But that audience, by nature of its venues, is inherently limited and BԪַdown market.BԪַ In BԪַLast Dance,BԪַ Soderbergh gives Mike a wealthy benefactor, in the form of the operatically named Maxandra Mendoza (Salma Hayek) who is in the midst of a messy divorce from an obscenely successful media mogul and looking to shake things up.
After an acrobatic, but fully clothed, encounter with Mike, she decides to whisk him away to London, dress him up and put him in charge of staging a show that promises to make its audiences feel the way she did the night she met Mike. In the process, she, and Soderbergh, Tatum and screenwriter Reid Carolin, set a historic London theater, and all of its fussy rules, ablaze (figuratively). If only all scorned socialites could do something so charitable with their rage.
ItBԪַs a clever conceit for a filmmaker who never tires of singeing the establishment he continues work in. And like many Soderbergh films, BԪַMagic MikeBԪַs Last Dance,BԪַ shaggy, earnest and innocently tawdry, goes down so easy that itBԪַs almost impossible to appreciate it fully on a first watch. I imagine it will only improve with more.
If there is a quibble, itBԪַs that Hayek and Tatum donBԪַt quite inspire the will-they-wonBԪַt-they tension that the movie seems to be asking of them. They work well together when theyBԪַre working together, but the romantic chemistry is a bit lacking. Besides, his great unrequired love isnBԪַt a person but his furniture business, right? It doesnBԪַt help that Maxandra is also an extremely underdeveloped character.
Even so, Mike manages to wrest an inspired dance in the rain out of the idea of them (his co-dancer is Kylie Shea) that pays homages to classic movie musicals with just a bit more skin and writhing.
This story is told like a fairy tale, or a poetically composed school paper from a particularly precocious student, with a silky voiced young narrator telling us about MikeBԪַs woes and the waning significance of dance in the culture. SheBԪַs not just a disembodied voice, but an important character the story reveals later.
But itBԪַs a lovely little flourish in Mike LaneBԪַs journey. HeBԪַs a guy who just wants to make furniture but seems destined (or doomed) to continue performing in one way or another. Like his director, heBԪַs just too good at it to say goodbye forever, no matter how much they both keep trying.
BԪַMagic MikeBԪַs Last Dance,BԪַ a Warner Bros. release in theaters Friday, is rated R by the Motion Picture Association for BԪַsexual material and language.BԪַ Running time: 112 minutes. Two and a half stars out of four.
BԪַLindsey Bahr, The Associated Press