“Magic Mike” is about far more than beefcakes. Granted, there are plenty of gyrating men if that’s all you need. But with Steven Soderbergh at the helm, this crowd pleaser is hardly mindless escapism, instead providing a meticulous examination of a fascinating subculture through keen detail that all audiences should appreciate.
“Showgirls” for women this is not.
Channing Tatum, who had a brief foray with stripping before turning to acting, plays Mike, a budding entrepreneur who parlays his charisma and dance expertise into cash.
| On screen |
| ‘Magic Mike’ |
| 3 out of 4 stars |
| Stars: Channing Tatum, Alex Pettyfer, Matthew McConaughey, Cody Horn and Joe Manganiello |
| Director: Steven Soderbergh |
| Rated: R for pervasive sexual content, brief graphic nudity, language and some drug use |
| Running Time: 110 minutes |
He encounters 19-year-old Adam (Alex Pettyfer) on a construction job and takes the babyfaced college dropout under his wing when he realizes “The Kid” could possibly put women in the grungy seats of Tampa Bay’s Club Xquisite.
Tatum shines in a handful of exquisitely choreographed and entertaining dance sequences and, when away from the showiness of the stage, he delivers a vulnerability missing from a string of wooden, detached performances that have defined much of his career. Paired with the over-the-top Matthew McConaughey, the frolicking band of so-called man candy keeps the audience engaged until Soderbergh delves into weightier subject matter.
Even guys will find dance numbers set to booming remixes of “Like a Virgin” and “It’s Raining Men” irresistible. As such, it’s easy to see why Adam becomes fixated with a world brimming with so much energy. It’s an endless party filled with women, money, drugs and yes, even a masculine camaraderie among the strippers.
But underneath all the raunchiness, Soderbergh reveals a simple coming-of-age-story set against the backdrop of economic turbulence.
It’s doesn’t expose the dark underbelly of the sex industry in a manner similar to Paul Thomas Anderson’s “Boogie Nights.” But Soderbergh’s simplistic and breezy message is effective and always authentic.
A romantic side plot between Mike and a no-nonsense nurse’s aide (Cody Horn) becomes somewhat predictable, but such tropes don’t dramatically weaken the film.
Soderbergh has become the poster child for reinvention. The marketing for his latest effort does him a massive disservice, but even if moviegoers are drawn in on false pretenses, they’ll likely leave with admiration for yet another example of Soderbergh’s magic.
