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The opening act starts the same as Isabel Ascende, but the protagonist is offered only two possible life choices, marry the rich aristocrat or the poor one with a heart of gold. So, she calls her imaginary friend from her childhood, the unicorn, breaks the fourth wall and then talks about modern feminist ideas about what choices women should be afforded, using a golden mic that drops from above. Then Isabel's male counterparts strip off their formal attire and the other dancers are presented one by one. They have sexier and sexier numbers until the last few, Victor is asked to remove Zadie for the most \"adult\". After a lap dance number for three of the more mature audience members, Mike's number with a professional dancer is reminiscent of moments shared between him and Max. Once the show is over, Mike finds Max, they kiss, and he says he loves her.
What laughs there are come from Ayub Khan-Din as Max's frisky valet Victor and Vicki Pepperdine as a Brit censor who drops her objections to a strip show when the guys drop their pants on the top deck of a London bus. More scenes like that one might have helped.
As there have been more intriguing options popping up on my other streaming services of late, it's been a minute since I last checked in on Netflix, which I haven't paid much attention to since viewing a number of potential and eventual Oscar contenders that I didn't feel any particular need to write about: White Noise (prototypically tiresome Noah Baumbach/Greta Gerwig eccentricity); Bardo, False Chronicle of a Handful of Truths (self-consciously artful Alejandro González Iñarrítu indulgence with ravishing Darius Khondji cinematography); Blonde (Ana de Armas, marvelous under demanding and frequently cruel circumstances; the movie itself, blech). Yet while working on a home project this past weekend that required me to sit in place for a number of hours, I did make time for two recent Netflix outings that do merit a bit of attention: Your Place or Mine, which may help explain why cineplexes have become all but bereft of traditional romantic comedies, and You People, which may help explain why rom-coms deserve a big-screen comeback.
Now before we start, I do have to make two things clear. The first is that this is a film where many shirtless men dance and gyrate in different situations. From that description alone, I think you already know if this is going to be a film for you. The second is that I am coming to this review with the clear knowledge that I am not the target audience for this film. However, I was surrounded by the target audience, and I think I have a decent idea of how it landed.Where the Last Dance works better than the first two films is that, for me, it got the balance between drama and fun. The first film set up all this drama and then just sort of ended, while the second was a bunch of fun but lacking in substance. Here we have an opening where Mike and Max are both at the point in their lives where everything has been pulled out from underneath them, and they are at the point where they need a change in their lives. This makes the perfect impetus to do something reckless, empowering, or just get some revenge.
As movies go, Magic Mike's Last Dance is absurd, and none of the major story beats hold up to scrutiny. It's also surprisingly enjoyable, in large part because of how sharply observed it is. The franchise is often understood as a sort of broad, campy, female empowerment fantasy, and it certainly engages with that perception: If you want to hoot and holler at modern-day Chippendales, this film will service that impulse. But there's more going on, at least at the margins. Director Steven Soderbergh, who also directed the first installment, keeps the proceedings grounded and lived-in: It's not realistic, exactly, but as with the first film, which was set against the economic backdrop of weird, working-class Tampa, Florida, it often feels as if it is populated by something like real, ordinary people, who have to deal with real, ordinary problems, like zoning and historical review boards.
Everyone loves a good action movie. From the original Terminator back in 1984 to last year's Brad Pitt-lead Bullet Train, audiences have flocked to see things get blown up real good for decades. It's no secret that action movies usually dominate the box office; after all, would you rather see Bruce Willis sneak around the Nakatomi building in Die Hard or a three-hour movie about shepherds in Siberia
In the last decade, no action film franchise has quite dominated the charts as the John Wick franchise. From 2014's sleeper hit to 2023's John Wick: Chapter 4, these Keanu Reeves-starring action movies have quietly won over the hearts of fans worldwide. But which one is the most popular Is it the sequel, John Wick: Chapter 2, or the original John Wick, one of the greatest action movies ever Using each movie's worldwide box office gross, the following is a list of the most popular John Wick movies in ascending order.
It's official: John Wick: Chapter 4 is a hit with critics and audiences alike. Yet in every movie franchise, at some point, the hero has to either call it quits or die. It happened with Christian Bale's Batman, who seemingly died at the end of The Dark Knight Rises, only to be revealed as living incognito in Europe with Anne Hathaway's Catwoman. Tony Stark sacrificed himself to save the MCU in Avengers: Endgame. It even happened to Daniel Craig's James Bond, who seemed to have perished at the end of No Time to Die. If 007 can meet his maker, then no action hero is safe.
The pickings are slim on Super Bowl Weekend, but we're here tosteer you in the right direction on Breakfast AllDay if you're looking for a different kind ofentertainment. Christy and Alonso review \"Magic Mike's LastDance,\" which finds Channing Tatum taking the stage onefinal time at Salma Hayek Pinault's request. We differ on the moviebut agree that the dance numbers are spectacular. We also reviewthe extremely bland rom-com \"Your Place or Mine,\"starring Reese Witherspoon and Ashton Kutcher, on Netflix. Innews, we have a lengthy discussion aboutsongwriting legend Burt Bacharach, who died thisweek at 94, but somehow forgot to mention that he wrote the themeto the 1958 horror movie \"The Blob,\" this week's opening song.Plus: trailers for \"Fast X,\" \"Strays\" and \"Air.\"And for our Patreonsubscribers, a recap of the latest episode of \"PokerFace.\" Thanks for joining us!
Nearly eight years after Lane hung up his thong and unraveled the last of his crumpled paper bills, he finds himself bartending at catered events in Miami after losing his furniture business during the COVID-19 pandemic. Even fictional ex-strippers have suffered the consequences of the pandemic, go figure.
Audience members are never guaranteed to be selected for the audience participation numbers, but wearing pants certainly increases your chances of being pulled on stage for a night that you will never forget! There is no formal dress code for the show, wear whatever makes you feel comfortable, sexy and ready to have a good time!
\"Magic\" Mike Lane takes to the stage again after a lengthy hiatus, following a business deal that went bust, leaving him broke and taking bartender gigs in Florida. For what he hopes will be one last hurrah, Mike heads to London with a wealthy socialite who lures him with an offer he can't refuse - and an agenda all her own. With everything on the line, once Mike discovers what she truly has in mind, will he - and the roster of hot new dancers he'll have to whip into shape - be able to pull it off
Without the core group of guys who danced with Mike in the past two films, this slim-plotted threequel is just an excuse to watch Hayek and Tatum flirt (and lots of sexy dances, of course). Director Steven Soderbergh and writer Reid Carolin do manage to include a funny Zoom meeting between Mike and his best pals, Big Richie (Joe Manganiello), Tito (Adam Rodriguez), Ken (Matt Bomer), and Tarzan (Kevin Nash), who tell him not to be ashamed of \"sex work\" even after he explains that he's not a paid escort. The short scene underscores how their brotherhood of friendship was at the heart of the other movies and how much that brotherhood is missing from this installment. In the absence of the guys, Mike has a bunch of hired professional and street dancers, but it's difficult to recall even one of their names, not to mention anything about their private lives. The dancers don't have backstories like the Xquisite crew, because this script focuses solely on the relationship between Mike and Max. 59ce067264
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