“The ‘Magic Mike’ saga was a big bag of fun while it lasted. And it lasted up to — but not including — the third and maybe-final film in the series, ‘Magic Mike’s Last Dance,’” writes Tribune critic phillipstribune.
screenwriter Reid Carolin returns with a self-mythologizing narrative trading laughs for sincerity and then, all too early, sincerity for solemnity. Less fun, more heart was the idea, along with real hope for the emotional health and romantic well-being of the Channing Tatum character.
Tricky word, “hope.” Soderbergh knows that movies, sometimes his own, have a way of appeasing a popular audience with just enough of it to leaven his sardonic, ironic acumen. As a punchline to his rippingdelivered in San Francisco in 2013, Soderbergh deadpanned that any screenplay pitched to a roomful of bored, clueless studio executives has a chance at being green-lit if you say that your movie, whatever it’s about, is really about hope.
Offstage, Max and Mike trade unblinking stares of love, though they’re both too cool to talk about it or act on it. Max’s teenage daughter knows what’s up, though. It is this character who narrates the film as if reading from a term paper on the history, meaning and evergreen allure of dance through the ages.
Mike is just the working-class American Joe these insufferable Brits need. The film becomes a tale of how he opens up as a human being and relays his own love story “told through dance,” as the narration points out with a yellow highlighter.
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