Review: Magic Mike's Last Dance

Just over 10 years after multi-nominated and Oscar-winning filmmaker Steven Soderbergh introduced us to the sweaty, pheromone-emitting, dance-tastic journey of Mike (Channing Tatum) in the male-entertainment industry, Soderbergh has returned to complete the trilogy and put on a show for us one last time. Tatum with his abundant charm has finally been matched in screen presence by casting Salma Hayek as his co-lead. With these two in front of the camera and Soderbergh behind, a clearly flawed film such as this still deserves to be watched to have a good time.

Using such a heavy footed plot device in a film about how dance can be used as a medium of expression and communication could be perceived as detrimental

The film immediately informs us that during the 8 year hiatus, Mike’s more widely socially accepted passion and career as a creator and salesman of sustainable furniture has been derailed by COVID forcing him to take on new lines of work, including bartending at Maxandra’s (Salma Hayek) house party. This piece of exposition is the first instance of the somewhat unnecessary use of narration throughout proceedings. Using such a heavy footed plot device in a film about how dance can be used as a medium of expression and communication could be perceived as detrimental. However, the content of the narration is still beneficial, and this device allows for the high-tempo pacing of the film to get to what most people seek from a Magic Mike experience.

Needing to take Maxandra’s mind off of her possibly pending divorce a colleague suggests that acquiring Mike’s services would do the trick. Fans of the trilogy would be pleasantly rewarded, knowing that this colleague is aware of the ex-male entertainer’s past since she was graced by a botched performance at her sorority party in the original film. This fan service somewhat sweetens the bitter disappointment of only getting to spend one brief scene with the original ‘Kings of Tampa’ on a zoom call with very few basic lines. If you were also dreaming of seeing Mathew McConoughey on stage ‘sticking it’ to the crowd one last time then sadly those dreams are unceremoniously shattered with no mention of the eccentric entrepreneur at all.

The retired dancer is thankfully convinced within the first 10 minutes of the film to share his gifts “one last time” (heard that one before). The lucky billionaire’s world is what can only be described as rocked so hard by this performance that she is convinced his magic would be best utilised as a replacement for the current director of the long-standing, high-brow play in the theatre she owns. The ‘modernised’ version of the show is, however, thrown into jeopardy when Hayek’s character’s estranged husband discovers the alterations to the play. Similar to XXL, this creates a set piece teasing the audience with a possible showstopping, heart-racing ‘last dance’ in the finale.

Loosely woven into the somewhat bizarre story are commentaries on how art should be non-judgemental. Its goal is to provoke and enlighten but also entertain in any way. All forms of art which do so should be appreciated, this film included. The most centralised theme (although that’s not saying much) focuses on the empowerment of women. This is centred on inspiring women to indulge and demand their desires, breaking free from the historical and contemporary shackles of believing pursuing and obtaining all passions isn’t possible. On top of this, nothing is sexier than consent. These themes are only grazed upon, but each viewer can adopt and project these ideas to whatever level they see fit when experiencing the main spectacle of fluid movement and charisma.

Tatum should be greatly credited as making the most of any opportunity to elevate the comedy in the film

The dialogue is hit or miss, probably leaning towards miss. Taking a cynical point of view would mean the dialogue is unintentionally funny. Nevertheless, the optimists will gladly argue that these clunky innuendos and cheap jokes are intentional and fitting to the satirical and not afraid to laugh at themselves tone that this film provides. This optimism is reinforced when the movie is seemingly hijacked by Soderbergh’s love of heists, having the dancers carry out a heist-like mission with similar shooting and editing to the filmmaker’s widely beloved Ocean’s franchise. This sequence is one of multiple which are also genuinely funny with some equally laughter-inducing conversations. Tatum should be greatly credited as making the most of any opportunity to elevate the comedy in the film, cementing himself as one of the best comedic actors we have at the moment.

Other than the two leads and Maxandra’s daughter Zadie, played by the debut actor Jemelia George, the acting performances felt slightly unnatural. Tatum’s and Hayek’s chemistry builds throughout with an obvious and believable connection forming which is a crucial foundation of the movie. However, the development of most character relationships seemed an afterthought, combining to cause emotional payoffs to feel cheap and undeserving at times.

That being said, as eluded to previously, these elements are only the supporting roles, complementing the lead, which of course is the electric, raunchy, chin-on-the-floor dances. Although by Magic Mike standards this film has dialled it down, with less nudity and a smaller quantity of top-tier dance numbers, there are still examples of why this film belongs to one of the best modern dance franchises. Deserving of the Magic Mike hall of fame is the ‘dancin’ in the rain’ performance which affirms the idea that dancing really can be as fluid as water, whilst also relaying that when life gives you rain, make it into your slippery dance canvas of passion. There are no sex scenes in the film but this definitely resembles something much sexier than most sex scenes out there, truly conveying how impressive, communicative and darn right sexy dance can be.

Verdict:

This film is clearly the 3rd best in the trilogy, which is undoubtedly a shame, however, if you’re looking to have an uncommitted good time with your friends, possibly after a few cocktails (or mocktails!), then this film is a worthy accomplice. Let’s hope that we get to see Salma Hayek having the time of her life on screen again in the near future and that this isn’t the last time we are spoiled with Tatum’s magnificent talent.