MAGIC MIKE’S LAST DANCE is the third installment in Channing Tatum’s male stripper-dance series, and appears to be the last, as the story reaches crazy fantasy heights. That is not to say there isn’t some entertainment value – in the vein of the erotic original – and with director Steven Soderbergh back at the helm (as he was for the first one but not the second), it is a more polish production. MAGIC MIKE’S LAST DANCE dials back the seriousness of the second movie, and this third installment describes itself as “musical comedy” as it returns more to male erotic dancing and female titillation mode. But then the sequel overshoots the mark, with a remarkably goofy story that mixes a reverse PRETTY WOMAN – MY FAIR LADY mash-up with the 1940s “let’s put on a show,” sprinkled with a women’s empowerment, anti-ageist message. Exhausted yet? You will be if you think very much about this loopy premise.
The real entertainment is in the dance sequences, a mix of the original’s male stripper-dance but elevated by contemporary and modern dance, even a touch of ballet, by actual professionally trained dancers.
The film starts with Mike (Channing Tatum) back a work as a bartender at a Florida charity fundraiser at the home of a wealthy woman, Maxandra “Max” Mendoza (Salma Hayak Pinault) who is depressed as she is going through a messy divorce. A friend who recognized Mike as a one-time entertainer at a bachelorette party, suggests him to the hostess as a way to cheer her up. After the party, she calls Mike in and tries to engage his services. He tells her he no longer does that (what is not specified) but when pressed, names a price of $60,000. Maxandra counters with $6000, which financially-strapped Mike can’t refuse. A hot lap-dance that makes the most of the furniture follows, just barely short coitus, and then we cut to the two of them in bed in the afterglow.
After that magical experience, Max offers Mike a job, although she in not clear doing what, for $60,000 – if he will come back home to London with her. But she makes one rule: no sex between them. Although that doesn’t keep Max from teasing Mike when she wants.
The job she comes up with is putting on a show. Mike is made director/choreographer ins charge of transforming a long-running costume drama in a historic theater, bearing her soon-to-be ex’s family name, into an elevated version of a male erotic dance show. The goal is to give Mike a job and a chance to transform himself, while irritating her soon-to-be ex. As you surmised, Max is an impulsive, over-the-top character who is perhaps more unpredictable than usual as she struggles emotionally with the divorce. Mike’s real job is to cope with his changeable boss, and maybe win her heart.
Hayek Pinault does fine in her but casting the Mexican-born Salma seems an odd choice to play the Brit. Turns out, she was not the original choice for the role but British-born Thandiwe Newton. However, Newton left the production 11 days in, for unclear reasons but rumored to be following a clash with star/co-producer Tatum. Newton would have made much more sense in the role but with her out, it seems the decision was made for the character even more nutty to distract from any mismatch. That said, Hayek Pinault leans into it, and Tatum’s character trying to be his charming best to cope with this unpredictable employer/love interest has some comic value. Jemelia George is delightful as Max’s precocious daughter Zadie, and Ayub Khan Din as snarky butler/driver Victor (in an ARTHUR reference) adds more entertainment, coaching Mike in how to win over Max.
The real entertainment in this crazy movie are the dance sequences, both the steamy lap dance but also the show’s try-outs, rehearsals and the show itself. Those later sequences are elevated by casting a real dancers and having them do a mix of modern dance and male stripper moves.
Certainly, Steven Soderbergh knows what he is doing as a director, so things move along briskly and the movie does serve up some hot entertainment for a female audience in the dance sequences. The initial lap dance provides sexy entertainment but it isn’t all male stripper dance. When we get to the show in the London theater, there is more a modern dance element – actual dancers doing erotic dance rather than erotic dancers performing, as one character notes. The dance sequences later, featuring more contemporary and modern dance that just male stripper grinds, is the best part of the movie. There is a very nice wet-stage pas de deux sequence with Tatum and ballerina Kylie Shea that is one the best moments. Italian professional dancer Sebastian Melo Taveira delivers a delightful, impressively athletic contemporary performance, a highlight of the film for those who are dance fans.
The story is nonsensical but Soderbergh’s skill takes you past that, letting you enjoy the dance sequences and their entertaining mix of hot moves and impressive athleticism and skill. If you can just ignore that crazy story, there is some eye-candy and sexy fantasy fun in this hot dance sequel. But presumable this truly is Mike’s last dance, as this tale looks as exhausted as a post-show dancer.
MAGIC MIKE’S LAST DANCE opens Friday, Feb. 19, in theaters.
RATING: 1.5 out of 4 stars
MAGIC MIKE’S LAST DANCE opens Friday, Feb. 10, in theaters.
RATING: 1.5 out of 4 stars
