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.
Longfellow Deeds (played by Adam Sandler) is the owner of a popular pizzeria in the small town of Mandrake Falls N.H. He is a seemingly happy and well-adjusted guy whose main pastime involves writing greeting cards he hopes will one day be published by a big conglomerate like Hallmark. His enchanting life all but comes to a halt however when a corporate honcho named Anderson (Peter Gallagher) informs Deeds that his long lost relative Preston Blake has left him an inheritance of $40 billion a chain of media outlets a football team and a basketball team. Deeds heads to Manhattan to collect his endowment which includes a Diff'rent Strokes-style Park Avenue penthouse and befriends his late uncle's butler Emilio (John Turturro). When Deeds falls for tabloid TV producer Babe Bennett (played by Winona Ryder) who is posing as a demure school nurse he inevitably gets his heart broken and realizes that a 200-mile-an-hour lifestyle isn't for him. Mr. Deeds is a middle-of-the-road movie with a couple of good laughs most of which don't come from Sandler.
Sandler's portrayal of Deeds is peculiar. You would expect this small-town guy to have the same qualities that Gary Cooper had in the 1936 version but Sandler's depiction is dimwitted rather than polite and his character has a disturbing violent streak. His seems to channel his inadequacies into landing his fist in people's faces. But Sandler's character is not only mean tempered he's humorless too. Ryder (Autumn in New York) cunning Babe Bennett on the other hand did have a timeless quality and it is nice to see her acting goofy for a change. The script didn't call on her to say too much unfortunately and her character ends up being a caricature of a 1930s career woman. Surprisingly Turturro's (Collateral Damage) character the loyal butler with a strange habit of appearing and disappearing from a room generates the most laughs. Watch for cameo appearances by Sandler's buddy Rob Schneider and another by the Rev. Al Sharpton.
Director Steven Brill who also directed Sandler in Little Nicky delivers a relatively flat and uninspiring New York City: in the scene where Babe and her coworker fake a mugging for example the street appears deserted rather than bustling. To make matters worse the bland visuals are littered with clichéd fish-out-of-water situations including Deeds' fascination with the huge apartment's acoustics and its vast housekeeping staff. The most disturbing aspect of the film is that after deciding that happiness is more important than money Deeds doesn't do anything worthwhile with the dough. OK he does give it all the United Negro College Fund but a gigantic plot hole seems to indicate that the organization will have to send it back. The point is Deeds never tries to do the right thing with the money; he just wants to wash his hands of it.