In 2012, during the release of a film freely inspired by his past as a dancer showing off his body in shows reserved for a female audience, Channing Tatum told The Press want to do magic mike THE saturday night fever from the world of erotic dance.
Supported by filmmaker Steven Soderbergh, the actor had been able to give an interesting dimension to a story that was still a bit substantial, insofar as it also included a social aspect. The same could be said of Magic Mike XXX three years later (this time directed by Gregory Jacobs), focused more on the spirit of camaraderie between the dancers.
Alas, there is every reason to believe that Magic Mike’s Last Dance (Magic Mike – Last Dance in French version) will be to the adventures of Mike Lane what staying alive, directed by Sylvester Stallone, was for those of Tony Manero. Along the way, we even wonder if the number that we prepare throughout the film will join the pantheon of laughable choreographies the infamous Satan’s Alley from 40 years ago.
This wet firecracker is all the more surprising since Steven Soderbergh, whose filmography is very rich (it also includes a feature film that won a Palme d’Or at Cannes – Sex, Lies and Videotape — and another Best Direction Oscar winner — Traffic), returned to production.
Hard to believe
The most serious problem of this final opus of the trilogy however lies on the side of the scenario. Written by Reid Carolin, who nevertheless signed the first two parts, the story struggles to find a raison d’être this time, especially since the pretext of departure does not really hold water. When we find him, Mike Lane, still camped by Channing Tatum, has given up the job and finds himself a bartender at a private party, organized in Miami by Maxandra Mendoza (Salma Hayek Pinault), wife of a wealthy British businessman. Having heard from a friend present at the evening of the hot past of the beautiful cocktail brewer, Max ends up convincing the latter to perform for her in private, for very high remuneration, very welcome for Mike in a post-pandemic context. This is where it goes wrong.
After this lascivious dance demonstration, very well shot it is true, Max is so impressed that she invites this complete stranger to follow her to London. She then gives the mandate to her protege, who has no experience of the thing, to refresh the dusty play on the poster of the old theater which she manages. She wants to see an adaptation of the same play, which would feature a heroine surrounded by an all-male troupe, with a good dose of suggestive dancing. The director, in the process of separation, wants nothing more or less to offer a feminist show that can motivate the spectators to fulfill their desires and reinforce their conviction that nothing is impossible for them. The idea is not bad in itself, but the way, it makes sure that we do not believe it for a single second.
Yes, but the dance, you say? Here too there is a problem. Unlike the previous installments, practically everything is based on Channing Tatum. It seems, however, that for most of the film, Mike cannot really assert his “magic”, since he no longer practices his art and instead tries to lead a troupe where none of the dancers really have the opportunity to stand out. Of course, he will come back on stage to deliver a drunken final number with a partner, but it’s too little too late, especially since, given the subject, Soderbergh took a surprisingly chaste approach. Magic Mike’s Last Dance is even rated “G” in Quebec.
Indoors
Drama
Magic Mike’s Last Dance (VF: Magic Mike – Last Dance)
Steven Soderbergh
Starring Channing Tatum, Salma Hayek Pinault, Alan Cox
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