Film Review - Magic Mike's Last Dance (2023)

The Magic Mike franchise has been an interesting exploration on the spectrum of masculinity since the first film in 2012. While Magic Mike and Magic Mike XXL are quite the tonal juxtaposition, their willingness to explore how vulnerable people, and especially men, can be, particularly those who hide behind facades of cool, sexy or both. Magic Mike’s Last Dance continues this theme, turning in a mostly satisfying third entry into this rambunctious trilogy of stripping, dancing, and connection.

Mike Lane (Channing Tatum) has since left his past life as a stripper, or male entertainer as his past gang brands themselves. When working as a barman for a wealthy socialite, Maxandra Mendoza (Salma Hayek Pinault), he gives her a lap dance at her request. She’s so mesmerised by their night together that she offers a chance for him to come to London and direct a stage show; one that she hopes will revitalise her theatre, the Rattigan. Mike takes her up on the offer. The conflicts that ensue from this decision force Mike to look inward and assess what it is he wants out of life.

Similar to the previous two films, Magic Mike’s Last Dance has little interest in being like what came before, other than its explorations on the layers to masculinity. This one is much more of a character study on Mike himself. His crew from the past two films, be it Tarzan (Kevin Nash), Tito (Adam Rodriguez), or the amusingly named Big Dick Richie (Joe Manganiello), only feature in cameo appearances. That may be a red flag for those who enjoyed the group dynamic of the second film especially. But they are not the focus. Mike is, and the film does a lot at exploring not only the existentialism that comes with expectations, but also artforms, such as dance, can bring us all together.

Steven Soderburgh, who directed the first film, returns to helm this picture. His direction highlights the more self-reflective mood that this film opts for in place of the celebratory tone of the last film. It is an appropriate choice, as this is essentially a story of two people at a crossroads in their lives choosing a path together and seeing if it leads to where they want to go. Meanwhile, the attention to detail in the choreography is astonishing. The opening lap dance that Mike gives Maxandra when they first meet has the desired effect of hypnotism as it’s hard to look away from the raw sexual energy it permeates. While much of the film concerns people prepping for one big dance, hence the title, when the big dance plays out on screen, it feels earned as the choreography, cinematography and editing are all as kinetically charged as each other. Those coming to this film purely for the dancing will not be disappointed.

Vulnerability, and the willingness to be vulnerable, has been a quiet theme throughout this trilogy. This informs many of the character dynamics on display, as Mike believes himself past his prime, while Maxandra desires for something perfect, even if it is unattainable. Both Tatum and Hayek Pinault tap into these vulnerabilities in order to generate some strong chemistry with each other. Whether at odds or in agreement, there is a magnetic energy between the characters that is hard to look away from. Other standout performances include Ayub Khan Din.