The first “Magic Mike” movie exuded a sense of swing, and a cool and confident physicality, tnyfrontrow writes. In “Magic Mike’s Last Dance,” “the camera gyrates but doesn’t swing.”
Just as the first “Magic Mike” was based loosely on Tatum’s experience as a dancer in his late teens, the new installment is based loosely on Tatum’s more recent experience behind the scenes. Soderbergh says that he was inspired to make the film after seeing the live London stage show of “Magic Mike” that Tatum and the screenwriter Reid Carolin had been working on. Discussing the movie in July of last year, Soderbergh likened it to “.
But it’s money that makes the entire setup possible, including the six thousand dollars that Max offers the reticent Mike to dance in her living room, the many millions that fund her daily life, and whatever hefty sums it takes to sustain her theatrical enterprise and tear it up and put Mike in charge of its new identity. Not only does Mike audition male strippers but Max and her casting director, Renata , hunt down break-dancers and street performers from as far away as Rome.
That obvious romance is smothered in sentimental business that sets the stage for the solo wanderer Mike’s integration into Max’s family. He becomes friends with Max and Roger’s whip-smart teen-age daughter, Zadie , a pleasant presence and an obvious stereotype; and he relies on the steadfast Victor, who, after the separation of Max and Roger, went with her because she has the “bigger balls.” But the movie’s feminist trappings come with baggage.
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