Magic Mike’s Last Dance Review

Magic Mike's Last Dance

Dir: Steven Soderbergh

Starring: Channing Tatum, Salma Hayek, Caitlin Gerard, and Gavin Spokes

1h 52m

At the press screening of "Magic Mike" in 2012, a group of talented male performers danced their way around a crowd of eager viewers ready to see Channing Tatum striptease. In the film's first minutes, the naked backside of Mr. Tatum appeared onscreen, and the entire theater erupted in hoots and hollers so loud that any dialogue following this scene was muffled entirely out. It didn't matter from this point whether the movie review would be negative or positive, "Magic Mike" already was a hit. 

"Magic Mike," directed by Steven Soderbergh, explored the glamorized lifestyle of an adult  entertainment performer in a South Florida nightclub as a cautionary tale and a star-turning stage for Channing Tatum. "Magic Mike XXL," directed by Gregory Jacobs, took the show on a road trip with a lighthearted buddy comedy with an unsuspecting heart. "Magic Mike's Last Dance," directed again by Soderbergh, takes place a decade later, post-Covid, as a film about second chances and chasing your passion. Is another journey with a retired male stripper necessary? Not at all. But "Magic Mike's Last Dance" has enough charming Channing, Hallmark channel romance, and seductively-charged dance choreography to keep fans of the series satisfied with one final dance. 

Mike Lane (Channing Tatum) experienced the same struggles as the rest of the world during the pandemic. After pursuing a dream and finding success as a furniture designer, the worldwide health event put Mike's passion out of business. Still living in South Florida, Mike works as a bartender-for-hire at a luxury charity event run by Maxandra "Max" Mendoza (Salma Hayek), a wealthy Londoner who is going through a marriage separation. A guest at the party recognizes Mike from his past life as a male stripper; Max finds out and coyly coaxes Mike to demonstrate his skill to her in private. Mike, initially reluctant, obliges Max's request, which awakens an opportunity that jettisons them to London for a unique creative collaboration.

"Magic Mike's Last Dance" steps away from the examination of desire and performance prevalent in the previous two films and instead emphasizes the theme of sex as art, performance for pleasure, and the blurry line between lust and love. Soderbergh, director, cinematographer, and editor under various pseudonyms, focuses on developing a love story between Mike and Max and exploring the connection between performer and patron that exists when the fantasy dissolves. 

The execution of the love story seldom finds its swoon-worthy stride, even though the chemistry between Channing Tatum and Salma Hayek evokes a complicated yet sweet relationship. As Mike and Max grow from artistic collaborators to emotionally connected soulmates, the story provides a few moments of love's influence that are amusing to watch. Whether a sexy private dance scene or a makeover montage, Hayek and Tatum's performances sizzle. Unfortunately, the good moments aren't strong enough to sell the journey of love for these two older, world-weary adults. Still, the non-too-serious approach keeps the emotions light and digestible for audiences looking for a simplistic love story.

Channing Tatum is comfortable with the role of Magic Mike. The Prince Charming quality of the character's development in this film suits the actor's endearing sensibilities. Salma Hayek is in prime form throughout the film as a newly empowered woman taking control of her choices. Hayek exudes confidence throughout the film, making the character arc far more interesting when Max loses assuredness as the emotions for Mike grow irresistible.

"Magic Mike's Last Dance" is a good romantic cinema date night option for Valentine's Day. Salma Hayek and Channing Tatum hold the film together; their onscreen connection is undeniably charming. While the film may not always evoke those timeless love story vibes, it has enough sweet sentiments and entertaining dance numbers to satisfy fans of the franchise. 

Monte's Rating

3.00 out of 5.00

Climax Review

Climax

Dir: Gaspar Noé

Starring: Sofia Boutella, Romain Guillermic, Souheila Yacoub, Kiddy Smile, Claude-Emmanuelle Gajan-Maull, Giselle Palmer, Taylor Kastle, Thea Carla Schott, Sharleen Temple

International auteur Gaspar Noé makes films that are challenging, creative, chaotic, uncompromising, distressing, and flawed. It’s the unbridled ambition and meticulous detail that the filmmaker delivers towards the technique and craft of filmmaking that makes his cinematic work compelling and frustrating in all the best and worst ways possible. And still, even with the polarizing outcomes, Gaspar Noé is a filmmaker that commands attention of films fans. 

“Climax” is the provocateur’s newest and most accessible film of his entire diverse catalog. For those new to the director’s work, this will be a great introduction, and warning, before deciding to move forward with films like “Enter the Void” and the still completely affecting “Irreversible”.

A French dance ensemble gathers on a wintry night in an old and empty school building to rehearse. The diverse group of dancers, each of whom seem to possess their own unique style of physical rhythm, twist, sway, stomp, and gyrate in a communion of sweaty style and synchronization. After a successful session, the group settles in, being to play music, share gossip about one another, and drink strong sangria. What the group is unaware of is that their drinks have been laced with LSD. Madness ensues. 

In the beginning moments of “Climax” a bloodied woman crawls across a snowy landscape, the perspective is focused overhead, looking down on her body. Very soon after this scene the film’s end credits role, displaying all the people who, hypothetically, crawled across the ground bloodied and bruised in an effort to craft this film. Call it commentary on the state of the artistic process or how viewers of art treat the material or something deeper into the history of French art, however you identify this, it is without a doubt the director trying to say something to the audience. 

The social commentary, which is often communicated through the violence and mayhem that exists in Noé’s work, is focused very clearly throughout “Climax”, which is part of the reason why this film is so accessible. And for a film that revels in showcasing the disgusting and destructive nature of humanity, with someone being burned alive while laughter ensues from the responsible party, to a pregnant woman being beaten by another woman, it’s not hard to guess what Gaspar Noé’s other films may have in tow for viewers. 

Early in the film an old tube television is positioned within frame, personal interviews with the dance troupe answering questions about the dance process, ambition, and fears roll one right after the other. Surrounding the television are VHS films like Pasolini’s “Salò, or the 120 Days of Sodom”, Argento’s “Suspiria”, and Żuławski’s “Possession”and books like Luis Buñuel’s autobiography “Mon Dernier Soupir”,these are the inspirations Noé was using for specific scenes or themes. Heavy inspirational ground for a heavily thematic film that features two over 15-minute-long single shot takes and a breathtaking dance number that never seems to end and yet never gets boring. 

It’s this meticulous and calculated process that marks “Climax” as something special, even with its obvious errors which are easy to identify. Still, in the current cinematic world that is riddled with films trying to establish franchises and fit into the landscape of what everything else looks like, it’s nice to see a filmmaker introduce and indulge in complete stylistic chaos for 97 minutes.

Monte’s Rating

4.00 out of 5.00

Mary Poppins Returns Review

Mary Poppins Returns

Dir: Rob Marshall

Starring: Emily Blunt, Lin-Manuel Miranda, Ben Wishaw, Emily Mortimer, Julie Walters, Meryl Streep, and Colin Firth

The moment a group of lamplighters, led by the talented Lin-Manuel Miranda, start dancing with whirlwind choreographed precision and singing a memorable, foot-tapping number called “Trip a Little Light Fantastic”, it’s easy to remember that Disney has been crafting these sorts of unforgettable sequences consistently throughout its storied career. “Mary Poppins”, made in 1964 and Disney’s first film to receive an Academy Award for Best Picture, is one of the most iconic live-action films in the Disney catalog. Julie Andrews, in her feature film debut, and Dick Van Dyke are exceptional in the roles, even still today. 

“Mary Poppins Returns”, a direct sequel, is guided by Rob Marshall, a director who has some experience bringing musicals to life on film with the 2002 Academy Award Best Picture winner “Chicago” and the 2014 crowd pleaser “Into the Woods”. Taking the role of the affable Mary Poppins is Emily Blunt, who does a surprisingly good job of filling the gigantic shoes left by Julie Andrews by making the role her own, and offering support is the multi-talented artist Lin-Manuel Miranda, who is completely amusing every time he is on screen. “Mary Poppins Returns” doesn’t try anything completely new here, which is unfortunately felt in some spaces, but instead focuses on honoring the past in numerous ways. 

Michael (Ben Wishaw) and Jane Banks (Emily Mortimer), the youngsters from the first time Mary Poppins came to visit, are all grown-up and leading very responsible lives. Michael works at a bank and has three little children (Pixie Davies, Nathanael Saleh, and Joel Dawson), Jane is a union organizer during this Great Depression time who has made a significant point in helping her brother who is grieving after the death of his wife. Things aren’t going great for the Bank’s family, money is running low and their house is being sought after by a greedy bank owner (Colin Firth). But just as things are about to get worse, an unexpected visitor from the past arrives to help the family.

“Mary Poppins Returns” is doing its best job of paying homage to the original classic. The structure of the story is very familiar and mostly unsurprising; the original film casts a long shadow and this sequel tries its best to stay within its shade. This makes for a story that never quite finds its own unique path or creates much of its own emotional connection with its new audience. Still, there are some really interesting moments that distract from these concerns, specifically when Mary Poppins guides the youngsters into fun environments or into situations with amusing characters like Cousin Topsy played with scene-stealing glee by Meryl Streep.

The classic cut-in animation is still represented and, in a very pleasant surprise, is utilized in a unique and effective way. Rob Marshall has a talent for engaging movement within in the frames of his films, here blending different aspects of animation makes for some really engaging images that are interesting to watch. In one of the best scenes of the film, the characters walk into an animated world similar to one directly from Disney’s early cartoon genesis. 

The musical numbers are filled with pure Disney cheer and joy. While some of the songs may not have the staying power like the ones from the original, the themes “Nowhere to Go But Up” and “Trip a Little Light Fantastic” are still being hummed weeks after seeing the movie. 

“Mary Poppins Returns” doesn’t tell a new story as much as it honors everything from the past. Nostalgia is a powerful tool and for many fans, this spoonful of sugary nostalgia will be a memorable ride.

Monte’s Rating

3.75 out of 5.00

Step Review

Step

Dir: Amanda Lipitz

Starring: Paula Dofat, Blessin Giraldo, Cori Grainger, and Tayla Solomon

“Step”, an inspiring story about a group of young women from Baltimore on a step-dancing team, is less about dancing and more about the determination to pursue the future. Taking the “fly-on-the-wall” approach to this documentary, director Amanda Lipitz simply watches as personalities mold and clash throughout the senior year for the inaugural class of the Baltimore Leadership School for Young Women.

The school was established in 2009 with a mission of sending every one of the students, most of them from low-income families, to an opportunity in college. The struggles of high school life, the drama, the homework, the obligation to the team, are further complicated by troubles at home, the family issues, the lack of money, the struggles of a city divided in the wake of the suspicious death of Freddie Gray while in police custody. “Step” teems with personality and a sense of joy, even when it makes all the turns that you’d expect a film like this to make. You’ll still want these young women to succeed in everything they do, in both their journey to become champions of their hobby and their future. 

The Lethal Ladies of BLSYW, that’s their step-dance team name, are a fierce group of young women together but also individually. The film looks specifically at a few young women on the team. 

Cori Grainger is the brain of the bunch, an impressive young mind who has high ambitions of getting into Johns Hopkins on a “full-ride” scholarship. Her family, always supportive but realistic of the costs associated with higher education, worry about how they are going to make it all work. Cori worries too. 

Tayla Solomon has an authority about her; she’s confident and passionate, many times challenging her teammates with attitude. Makes sense considering her mother is a strong willed corrections officer determined to give a better life to her children. 

The personality of the group is Blessin Giraldo, the team captain and motivator of the group. Blessin is complicated, her family life is complicated, and this makes her academic career complicated just before graduation.

For these young women dance is an escape from their hectic and stress filled lives, but just because it’s an escape doesn’t make them any less passionate about it. “Step” watches the progression of a team on their way to the final state event. Along the way we see them grow as a team, we see them on good days and bad days, we see them struggle and achieve. It’s truthful in its portrayal of team dynamics, being the best isn’t easy and you can feel that aspect during their practices.

“Step” does a great job of showcasing how a team can reveal character within an individual, how it builds character to achieve high expectations, and how it shapes character to deal with obstacles that will arise in the future. All of this comes together in the film’s highlight performance, a beautiful piece of resistance, confidence, and determination. It’s a joyous thing to witness.

Monte’s Rating

4.00 out of 5.00