A Hip-Thrusting Threequel That Somehow Works Thanks to Channing Tatum

Best not to overthink Magic Mike’s Last Dance. Most folks will arrive to the theater expecting the basics: Channing Tatum shirtless and gyrating his hips in his underwear. To that end, Magic Mike’s Last Dance rises to the occasion. The film is fun (yet unusually somber in tone).

This is escapist entertainment. Like enjoying a beer and a pizza, or a date night with a tub of popcorn to share, just go for it—indulge and shake off the magic hangover later. This third outing about professional stripper Mike Lane—Tatum in ripped form—offers heaping portions of empty calories. What it lacks in a refined script and true character development—two things that were appreciated in the first outing—it more than makes up for in bare skin and the promise of Harlequin-type romance.

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It’s been eight years since the first sequel, Magic Mike XXL, and more than a decade since the original film by director Steven Soderbergh delivered a refreshingly inventive himderella tale about a down-on-his-luck kid who learns the ropes from a professional male stripper—have we all forgotten Matthew McConaughey starred in the first film? Soderbergh is back directing this time, along with producer Reid Carolin, the writer behind the first two films, and other Tatum-led endeavors like Dog and White House Down. Let’s strip the film down further.

Pecs, Abs, and Somewhere a Story

Magic Mike’s Last Dance picks up post-pandemic where we’re reunited with Mike after a business deal goes bust. We’re told it left him broke and that’s why he’s bartending in Florida. The film opens at a party at the lavish estate of Maxandra (Salma Hayek Pinault) Mendoza. Like her name, Maxandra is different. Rich, but not too stereotypical rich to call Mike into her secret chambers and purr, “What it is you really do?” and really mean it. Mike shows her. Maxandra is intrigued. Then she becomes stereotypical rich and invites him to London to revamp a show in a historic London theater.

Maxandra has other motives, too—she’s in the throes of a divorce from her cheating hubby (Alan Cox), and her awakened passion, thanks to Mike’s, uh, dance, gives her newfound purpose. “You move like water,” she tells him, and off to London they go, where he camps out in her posh pad while daughter Zadie (Jemelia George) and Victor, the crusty butler (Ayub Khan Din) look on with suspicious eyes.

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The main thrust, as it were, of the film revolves around revamping the play “Isabel Ascendant,” at the Rattigan Theatre, a family-owned venue Maxandra acquired in her separation agreement. As is, the production about a young woman deciding whether to marry for money or love doesn’t sparkle. Maxandra wants Mike to bring “a tsunami to London to wake people up with a wave of passion.” She gives him one month to do that. Meanwhile, both Mike and Maxandra can’t deny the spark they shared in Miami and now, their growing bond. So, it’s off to put on a show. Besides, the entire romp will annoy Maxandra’s soon-to-be ex.

On With The Show, But Take Off Your Clothes

Warner Bros

The second half of the film is mostly a smooth ride to strip “Isabel Ascendant” bare and liven it up. Mike, now 40, although you wouldn’t guess it, is not down to do any of the dancing (let’s see how long that lasts here), so a posse of hot men audition for “roles.” Cue: upbeat music and a groovy montage scene. We’ve been here before and seen this, however, I’m guessing audiences may never tire of it. There are plenty of shirtless hunks to savor and, quite impressively, choreographed dance moves that dazzle the eyes. In that respect, Magic Mike’s Last Dance truly stands out. Again, we’re really not here for plot. We’re here for cool moves. And skin, of course.

Curiously, though, for a Soderbergh picture, the blatant lack of character development cannot go unnoticed—no matter how many guys rip off their shirts and drop trou. The filmmaker isn’t interested in letting the audience know anything about the magic men recruited to save the show. I’m sure I heard one of them utter a line of dialogue, but I can’t recall who. These fellas are here for show, after all, and no doubt, getting to know anything about them would have detracted from the story and the chemistry between Tatum and Hayek Pinault. Still, it cheapens the overall mood.

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Even more surprising, perhaps, may be the lack of diversity in the characters. Nary a glimmer of LGBTQ+ representation to be found. And when original dancers—Matt Bomer, Adam Rodriguez, Kevin Nash, and Joe Manganiello—show up on a throwaway online video call, it’s glaringly obvious that this last dance knows it was on its last leg and wanted to keep the film at its nearly two-hour run time.

Other characters are given a random throw of the dice. Some fair better than others. Juliette Motamed of We Are Lady Parts is one of them. As the star of “Isabel Ascendant,” she’s given something to do, mostly toward the film’s third act when the redesigned play takes shape. Actually, “Isabel Ascendant 2.0” seems fetching. I’m sure Broadway (in the real world) could have fun with it, especially in an era when folks are looking at history and culture through a different lens—we’re talking about you “Hamilton” and “1776.” Meanwhile, Maxandra’s daughter Zadie plays the “objective observer” throughout. Her occasional voiceover/narration is intentional, and the audience eventually discovers why.

The Naked Truth

Warner Bros.

Not to go down the creative rabbit hole too much, but I’m guessing some folks may question the writer of these films—a man. By the looks of what shows up from page to screen, we’re led to believe that most women are repressed and downtrodden and can only awaken by the presence of a man. Or further… a man she gives permission to satisfy her. Maybe so. Maybe not. There’s something in that line of thinking though for an expanded dialogue. But really, we’re in the Magic Mike universe, so… don’t ponder it too much. This a popcorn flick. The choreography by Alison Faulk and Luke Broadlick, both from the Magic Mike franchise, is outstanding. Tatum continues to be a true screen presence. And Hayek Pinault is believable in the role she was given to play.

Whittled down into its threequel form, you still get some bang for your buck in Magic Mike’s Last Dance: a montage of hunky men, ripped abs, plenty of gyrating hips, musings on how dance awakens us, and something to melt that zombie apocalypse of repressed desire. So, it’s best to listen to the butler on this one. At one point in the film, Victor muses: “You can’t tell people anything. They have to experience it.”

Magic Mike’s Last Dance hits theaters on Feb. 10 from Warner Bros. Pictures.

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