First thing's first: Magic Mike delivers on the eye candy. Club Xquisite the wildest male strip club in Tampa sports an ensemble of muscled men ready to flash their ridiculous moves in even more ridiculous dance numbers (this crew has never seen a pair of assless pants they didn't like). Bringing a few dollar bills to the movie is recommended — Magic Mike is shot up close and personal enough that flailing them about will come naturally.
But between the codpieces air humping and penis pumps Magic Mike tells a surprisingly relatable funny and poignant parable centered on a character all too familiar to anyone with an ounce of ambition. Mike (Channing Tatum) leads a triple life: By day he's a roof tiler; by night an exotic dancer; and in his dreams he's a furniture craftsman and entrepreneur. When Mike first crosses paths with Adam (Alex Pettyfer) his worries about the future are dispelled slipping right into mentor mode to show the 19-year-old the wonders of sex drugs and rock and roll. Adam's broke and without direction — the perfect state of being for a stripper-in-the-making. Mike's sales pitch is irresistible and when Adam unwillingly takes the stage for the first time he feels the rush of a dozen woman screaming groping and stuffing singles down his jock strap. There's no question: A stripper's life is a journey worth embarking on.
In his typical fashion director Steven Soderbergh (Traffic Erin Brockovich) defies conventions sticking with Mike's ups and downs rather than transforming Magic Mike into a Goodfellas-esque "newbie in over his head" story. Between playing protector to the mesmerized Adam and attempting to strike up an actual relationship with Adam's sister Brooke (Cody Horn) Mike finds himself for the first time looking inward. Does a job define a man? He's convinced it doesn't but as Adam loses himself to the profession becoming the Xquisite's cutthroat owner Dallas' (the wonderfully slimy Matthew McConaughey) right-hand man and parlaying the gig into more dangerous ventures Mike realizes breakdancing in thongs may be more poisonous to his dreams than he ever realized.
Exploitation Magic Mike is not. The film's dance sequences are sexy and sleek but only to clue the audience into the job's allure. Backstage is equally important; Soderbergh does an amazing job constructing the boy's club atmosphere that keeps Mike and Adam coming back. Lively characters like Ken (Matt Bomer) and Big Dick Richie (Joe Manganiello) say little but speak volumes in the background of every scene. They're palling around and when they finally do reach out to Adam to profess their friendship it makes perfect sense. For a guy without a family the dancers are a perfect replacement.
While the cast is stellar Tatum continues his streak of star-making performances in the role of Mike. Obviously the man can dance — and he blows any memories of Step Up into oblivion. Beyond that he's perfectly in tune with Soderbergh's naturalistic style cool on his feet with the comedy and devastatingly subtle in the drama. His rapport with Horn who is equally striking in her casual approach is sweet and real a constant reminder that even a guy who lap dances in a fireman costume for a living has feelings too. Soderbergh enhances each of his performers with spot on photography: His Tampa is gritty and yellow-tinged the interior of the club a safe haven from the blase nature of reality. Magic Mike carries a full package.
Magic Mike hits all the right notes of comedy and drama that's completely unexpected in the summer blockbuster surroundings. Come for the stripping stay for the high-caliber filmmaking. Magic Mike is one of the year's best.
As a legendary Coast Guard Rescue Swimmer Ben Randall (Kevin Costner) was all heart and no regret. But it all comes undone in the span of one night when he goes out to the menacing seas with his crew to make a rescue and he is the sole survivor. Following that fateful night he’s ordered to teach at “A” School--a demotion for a man of his stature and seniority--an elite training program that helps turn the best recruits into the best Rescue Swimmers. Randall teaches the cocky students the only way he knows how and his tough tough love is initially met with skepticism by his fellow trainers who think of him as a has-been. But one student in particular Jake Fischer (Ashton Kutcher) catches his eye and draws his ire. Fischer is cocky hotheaded and highly skilled--just the right pedigree to make a great Rescue Swimmer and a lot like Randall was at his age. Randall rides him extra-hard while Fischer only hopes to one day be in the same boat as his mentor. Be careful what you wish for Jake! Costner's always been an acquired taste--sometimes a downright noxious one on first bite--but there's no denying he slides right in here. Roles that feature him as the aging provider of wisdom are now his true calling and the sooner he accepts it the better. And even still Costner gets to flex his action muscle a bit. As for Kutcher the only thing he shares in common with Costner is the last two letters of his last name--as actors these guys are each other’s antitheses! And in a weird way they strike a nice chemistry because of it one that is borderline exciting to watch. As a standalone actor in The Guardian Kutcher is a bit misplaced and seems to know it. He nails the physicality of the role but while the character's attitude and brashness befit Kutcher the peak dramatic scenes with Costner leave something to be desired. A pleasantly surprising turn from relative unknown Melissa Sagemiller (The Clearing) as Kutcher's girl toy and reliable supporting performances from Sela Ward and Neal McDonough round out the cast. Director Andrew Davis' proximity to his career peak The Fugitive cannot be measured in time: He's a lot further away from the mega-hit than a mere 13 years. But in Hollywood if you have a Fugitive under your belt you'll never run out of chances to replicate it. That's the current juncture for Davis--one last shot at Fugitive glory...till his next last shot. It's hard to say what The Guardian will do at the box office but Davis' stodgy direction doesn't necessarily help its chances. The movie can be boiled down to awful pacing: the first and last 15 minutes are high-octane action and everything in between is low-octane Top Gun (the non-action scenes!). That blame belongs to Davis and writer Ron L. Brinkerhoff. But only Davis can shoulder the other flaws such as a single scene of dubious camerawork--filmed to look like handheld-montage style completely deviating from the movie's context--and the special effects during the somewhat cheesy action sequences which may remind you of a theme-park tour during which you learn how they filmed a boat scene...in the '80s!