Not only do you stay the same age for the rest of your life, but you always stay sexy and gorgeous. Yay!
When Will Salas (Justin Timberlake) is falsely accused of murder, he must figure out a way to bring down a system where time is money (no, literally) enabling the wealthy to live forever while the poor, like Will, have to beg, borrow, and steal enough minutes to make it through another day. Along with him, he takes Sylvia Weis (Amanda Seyfried), daughter of one of the wealthiest men alive, and they venture out to change the world, they once knew, and try to make it back to the way things once were before.
In today’s day and age, hearing the term “time is money” seems very relevant and places you in the world we live in where the rich get richer, the poor get poorer, and cash is getting harder and harder to acquire. It’s a mess of a world we live in and it’s another perfect opportunity for Andrew Niccol to capitalize on and make a great sci-fi future about, just like he did with Gattaca. However, comparing those two seems a bit mis-matched, as one plays out like an actual drama, where this is just guns, chases, women, sex, and money. Lots and lotsa money.
What I liked most about this flick was the set-up and premise from Niccol. He takes you into this future where everybody is practically living day-to-day, working their asses off just for another hour, and people don’t waste any time at all with what it is they do, so they just run just to keep up with time. It’s a pretty neat premise that Niccol shows and actually spends a butt-load of time developing it, showing us the perks, showing us the obvious cons, and also letting us know how people get by when they live in a world like this. It also looks gorgeous with some really lavish production designs and something about those cars that combine a futuristic look, with a 70′s grindhouse-car look and made them look so cool and retro, but something I’ve never seen before as well. Either way, this whole world that Niccol put me in was really cool but it only becomes a total shame when things started to change right in the middle, and not for the best, either.
The film changes it’s tempo from this dark, brooding drama about a messed-up future, to a slam-bang, action thriller where two Bonnie and Clyde-types are going around, shooting people, taking time, and trying to save their own time as well. You would think that with a good chunk of this film surrounding two people, running for their lives as their clock ticks and ticks away, there would be a lot more suspense and momentum to this flick, but I never felt it. The pace should have been more frantic, where you felt like these characters could have timed-out at any second and even though there were some parts where that feeling came over me (last 15 minutes were pretty damn tense), it sure as hell wasn’t enough especially when you take into consideration that the last hour is dedicated to it.
This film is also terribly silly, but not in a good way, either. There’s a lot of lame dialogue used here where characters use all of these dumb time puns and the usual corny, action bullshit where you have JT saying that he’s going “to take their time back”, and all that lame-o crap that we hear in every sci-fi, action film. But this time it’s different: because it’s all about time. Honestly, if I heard “cleaning one’s clock” ever used again when somebody said they were going to kill somebody, I was going to rip out all of the alarm clocks from my house, get a hammer, set them down, and smash every single one to pieces until I couldn’t hear a ticking noise! And yes, even the ones on the microwave and stove as well! Sounds dramatic, I know; but it gets so annoying after awhile. Just trust me on that and be ready to check-off every “time” pun you can find because I don’t think you’ll have any left by the time this is over. See what I did there? Okay, I’ll shut the hell up now.
But the idea of how these people actually lose and gain time was pretty silly as well, if not fully realized to its fullest. I’m not a big mofo when it comes to movies not making any sense or seeming illogical in terms of plot or character-development, but when a flick like this depends on it’s tools and methods, I have to expect a little something more in the plausibility department. Think about it: the only way to gain and lose time in this future is by touching arms together. That’s it. The way a person can save your life is by basically, taking your arm, saying how much time to give away, and holding it for about 5 seconds or so. That’s pretty much all there is to that idea and it would seem pretty easy to steal anybody’s time just by walking by somebody and taking their arms, regardless of if they want you to take their time or not. Maybe Niccol didn’t fully think this stuff through, just maybe.
If anything makes this film a lot better, it’s the action and the cast that this film has assembled. Since every character in this film has to look either 25 or younger, it seems like a very big stretch for this film to get people that look this age and I don’t think one person in this film was actually that age, but they all do fine jobs with it. Justin Timberlake is fine in one of his first starring roles, playing a very serious and heroic-like character as Will Salas. JT does his best with this material and even though a lot of the lines he’s given are terribly corny as hell (yes, I speak of the “time” puns), he still works through it and makes a realistic/sympathetic character that we can all stand behind easily. Amanda Seyfried begins, at first, by playing his damsel in distress that seems to just want to go home back to her rich mommy and daddy, and live the life she’s always wanted to, but that surprisingly changes when we soon start to see her and JT connect with each other, which is where her performance seems to get better. Their chemistry is very good together and I could actually buy them as love interests, as well as two bad-ass rebels that wanted to take down “the man”. It’s also surprising that I believed them as a couple because they rarely have any actual love scenes together, and even when they do, they are always rudely interrupted by the dickhead time-keeper; Mr. Cillian Murphy himself.
One of the more distracting aspects behind this flick is that 35-year old Cillian Murphy looks the oldest out of this whole cast, but other than that, is still pretty good as our “villain”, Raymond Leon. I use quotation marks around the word “villain” because the film never really seems to decide whether he’s a troubled, government worker that is just doing his job, or a guy that is truly a bad soul that just wants to make people’s lives miserable. That aspect of this character is never fully realized until the last couple minutes or so with him and it’s only because of how good Murphy is at playing him, that I can forgive the film for this mis-step. The actual villainous villain in this flick is played by Alex Pettyfer, and after seeing Magic Mike and loving him in that, I was really happy to see this kid here give a pretty good performance as a dude that goes around, killing people, and taking their times right before he does so. Such a baddie!
Consensus: The set-up and initial-pace from Andrew Niccol, has In Time start off with plenty of promise, but it soon falls down after about an hour or so, where the film goes from a thriller that features no real thrills, no real suspense, and a whole bunch of corny-dialogue that makes you feel like this film was supposed to be made way back in the 80′s, when these films made killings at the box-office. They still do now, but not as much as that lame decade.
5.5 / 10 = Rental!!
Okay, I get it: drugs are bad!
Emily Hawkins (Rooney Mara), is a beautiful young woman who has a serious addiction to prescription drugs which she uses to deal with anxiety and depression surrounding the pending release of her husband (Channing Tatum) from prison. However, problems start to begin when she soon becomes involved in an affair with the doctor (Jude Law) who subscribed her to the drugs. Moral of the story: never trust a doctor as good-looking as Jude Law. Lesson learned.
Even though I have already stated that there is apparently an affair taking place between the patient and the doctor, rest assured, there isn’t actually any hanky-panky going on. Regardless of what the plot-lines, trailers, and advertisements may be telling you, this is more about the problem that occurs within somebody’s mind and physical state of well-being, when pharmaceutical drugs start to take over. Maybe there is some sex, maybe there isn’t, but the fact that the movie is willing to take the non-Hollywood approach to a relatively conventional story, just goes to show you what type of will and firepower Steven Soderbergh still has to his name.
Instead of making this movie one of those thrillers where a bunch of bad stuff happens, with clear-explanations and more understandings of what is really happening; the movie decides to take the higher-road and make everything more complicated than you’d ever imagine it being. What I liked so much about this movie is how it all started-off obviously, telling the story, giving us characters, and ultimately having us run into the problem that’s going to bring out the bolts and crannies of this movie. And for the longest time, we almost feel like we know where this story is going to end-up, how it will, and what it’s going to say when all is said and done, but no, no, no. Soderbergh doesn’t play by the rules and this movie shows just that.
Without giving too much away and spoiling all of the fun for you peeps out there, Side Effects goes into places you wouldn’t in the least-bit suspect a medical drama to go towards. It begins as a character-study of depression; then it becomes a medical drama about the negative and positive effects pills can have on a person’s mind; then it becomes a crime thriller; and then, ultimately, turns out to be a mystery/detective-thriller where you feel as if you have all of the clues and hints to make-up a clear understanding of what’s happening, but in reality: you just don’t. In a Soderbergh, nothing is ever quite what it seems to be and that’s not just a cliche, that’s just how he roles.
The combination of these 4 genres, may make the movie seem a bit like it’s too much, for so little, but that couldn’t be further from the truth. There is always this feeling that something new and unpredictable is going to come your way and just when you think you know what the big picture is all about, Soderbergh decides to pull the rug, right from underneath your feet and have you guessing more, more, and more, all up until the end where it feels like all of the questions have been answered, and everything is settled. Soderbergh always seems like he has a clear vision of what it is that he wants to do, say, and show-off in any of his stories, and even though the message may be a bit too obvious with where it goes (pills are only made for the doctors to get more moolah), there is still always that shred of memory that you watched this movie, and sat there in total and utter suspense, not having a damn clue where it was going to show-up next. I love that about movies and even better: I love that with my Soderbergh movies.
If there was a problem that I ran into with this movie, it was that the usual, downbeat ending that we are so used to seeing with Soderbergh movies didn’t show-up this time around. In fact, I would probably say that this is his most positive ending in the longest time, probably ever since Ocean’s Eleven. That’s a real shame too, because even though most of Soderbergh’s movies aren’t the happiest-of-go-luckies to watch and spend time with for 2 hours, you still feel like you’re watching a movie from a guy that doesn’t give two shits about having us leave with a happy and clearer view of the world. For the story right here; it does sort of work but when you take into consideration all of Soderbergh’s other movies: it’s a tad disappointing.
However, all problems with the ending aside, this is still a great movie mainly due to the fact that the cast is more than game for the material that writer Scott Z. Burns and Soderbergh are willing to throw at them. This is probably Jude Law’s best role in the longest-time as the psychiatrist that does all that he can do to not only help Emily with her condition, but also make sure to save his money from totally being thrown into the meat-grinder. From the beginning of the movie, I was expecting the movie to make Law’s character seem like a total, money-hungry doctor that didn’t give a single crap about the people he treated or what it was that they were going through; and have it more based on the fact that he’s just about doing his job, doing it the right way, making sure his patients are fine, and hopefully, at the end of the day, making the money go ching-a-ching. It’s a very, very well-written role for Law that shows that the guy still has what it takes to be the center of attention and never have us lose sight of what this character’s motivations are, whether they be good or bad. In this case, it’s all good in the hood of NYC.
Rooney Mara seems to be a very, very fine fit as the total and complete nutcase that is Emily. Mara really nails what it’s like to be so terribly-conflicted with depression, almost to the point of where she can’t handle it anymore. You always feel for this gal and as much as you want to give your heart out to Law’s character for always being there when his patients needed him, you still have to give some pieces out to Emily, for at least trying whatever it is that she can to get over this problem in her head and mind. Mara seems to really have a bright-future ahead of her and it’s a real delight to know that they ended-up dropping Blake Lively for her. Hell, if that chick was in it; it probably would have been a way different movie. And that’s not a good thing, either.
Much like Law, Catherine Zeta-Jones gets to show-off here more than she’s been able to in the past and gives us a glimpse at a lady that you can’t always trust, but yet, you just can’t put your finger on what it is exactly about her that rubs you the wrong way. Zeta-Jones is just able to mess-around not only with the characters in the movie, but our minds as well and it was great to see that played-out with such slickness and charm from Zeta-Jones. Definitely makes me forget about her sleep-walking role that was the Mayor’s wife in Broken City. Well, obviously not too much since I just remembered and mentioned it, but you get my drift. Channing Tatum is also very good as Emily’s, recently-released-from-prison hubby that does whatever he can do to make things between him and his wife, and is here to serve the plot and that’s about it. Not bad or good, just needed to move things along, I guess. Still, it’s good to see the guy working with Soderbergh once again and being able to keep his clothes on for more than 5 minutes.
Consensus: Even if it doesn’t rank-up with Soderbergh’s best, Side Effects is still one hell of a movie that will keep you guessing, on-the-edge-of-your-seat, and fascinated with how much Jude Law can do as an actor, even if his last couple of movies haven’t been able to prove that point.
8 / 10 = Matinee!!
Would have been better, had it been based on the Nintendo games.
Ward, a reporter (Matthew McConaughey) and his younger brother, a college drop-out named Jack (Zac Efron) investigate the events surrounding a murder to exonerate a man on death row, named Hillary (John Cusack). However, the only reason they are doing so is because the gal that wants Hillary out, a sexxed-up, piece of work named Charlotte (Nicole Kidman), just so happens to be the apple of Jack’s eyes.
I’ve been hearing a lot of crazy shit about this film and to be honest: it’s all deserved. Everybody knows Lee Daniels because he pulled-off Precious about 4 years ago and it showed him as the type of director that can get a story, no matter how gritty or despicable, and be able to make it in the least-bit inspirational for people. However, it wasn’t his first rodeo, as that honor (and I guess, dishonor) goes to a little, fucked-up movie called Shadowboxer. If you’ve never heard of it, please, don’t go watch it because it’s just an insane piece of work to watch and it will have you question whether or not you’ve just watched two films, from the same director. And if you have heard or have actually seen it, then buckle up, because that exactly the same type of crazy shit you’re going to get here.
As much as Daniels’ debut may have blew huge gonads, this flick is actually more controlled than that one and that’s probably because it’s just wild, without making any excuses for being so. There’s definitely that type of grungy, exploitative look and feel to the movie that has you feel as if you are in the dirty South, around the 60′s when racial-issues were up to the forefront and everybody was just sweating their asses off. If anything Daniels does do right in this flick, it’s at least nail the look and feel of the period that he has it placed-in, but everything else, well, it is sort of all-over-the-place.
Being “all-over-the-place” isn’t really all that much of bad thing if you can do it, and get away with it. The problem isn’t that Daniels can’t do it, because he sure as hell makes sure that everybody knows he can in every, damn second of this movie, but it’s more that he can’t get away with it. He can show two people making each other cum without ever touching one another and just simulating dirty things to one another, but it sticks out like a sore-thumb to everything else, and he can’t get away with it; he can show a girl peeing on a guy because he got stung by a bunch of jelly-fish, but it’s just odd and seems like it was only done for shock-factor, and he also can’t get away with it; and lastly, he can try and bring some issues up about the whole Civil Rights-movement, but when you compare it to the last sequences I just mentioned, it seems uneven, and once again, he can’t get away with it. Directors like Quentin Tarantino, Pedro Almodóvar (who apparently wanted to take this material at one time), or even Robert Rodriguez for that matter, could take this material, do whatever the hell they wanted to with it, and at least make all of the crazy shit and melodramatic stuff gel well enough together, that you almost don’t notice it, but Daniels isn’t one of those directors. He’s just a regular-director that seems like he’s trying his damn near hardest to have us all forget about the over-weight girl story he pulled-off 4 years ago, and try to distract us with insane amounts of sex, whether it actually happen on-screen or just be insinuated. Either way, there’s a bunch of sex that seems to come out nowhere at times.
Is all of this wackiness and cookiness fun? In a way, yes it is and honestly, as much as I may be ragging on the film right here, I am more or less just hating on Daniels. Not to say that the guy doesn’t know how to make a story move, because he definitely does, but it focuses way too much on the personal lives of these characters and not in an exciting or electric way either, it’s just a boring, way-too-dramatic way that comes off as trying too hard. We never really care for these characters, the case they continue to push to the side, or what their relationships are with each other and how that affects one another, and I guess that was the point. Daniels is just giving us a bunch of dirty people that we can either care to like or not. Whether or not we actually do, doesn’t matter, because as long as Daniels is just allowing us to see how insane he can be, then he’s the one with the real joy in the end. That kind of ticks me off now that I think about it, because there was definitely a crap-ton of promise with this flick and premise, it’s just a shame that it had to fall so far from ever achieving that said promise.
The only promise that this flick ever does hit head-on, is the ensemble cast and what they are able to do with each of their roles, no matter how wacky or unbelievable they may be. Zac Efron is the sort-of voice of reason throughout this whole flick and is definitely growing-up right in front of our own eyes, but if you think about it, it is sort of a dull role for the guy but nowhere near as dull as the role Robert Pattinson had in Cosmopolis. Still, Efron makes this character work and his performance shows-off a kid that definitely wants to be treated like an adult, yet, still has the tendencies of a kid that just doesn’t yet know what to do with his life or who to spend the rest of it with. Sort of how Efron is now, just without being peed-on. Then again, I still have no idea what him and Vanessa Hudgens did in their spare-time.
Playing his big bro, Matthew McConaughey is good as the slick and sly reporter that can not only charm his way into getting whatever the hell he wants, but also has a bit of problems brewing underneath that he’s pretty good at hiding. This is a nice role for McConaughey and it’s one that he can practically play while sleeping, but after a year where tore the roof down as force to be reckoned with in flicks like Killer Joe and Magic Mike, this one definitely ranks the lowest-of-the-low for him. Not to say it’s bad, but it’s not to say that it’s anything special, either. John Cusack is playing really, really against-type here as the psychotic and nutty Hillary, and shows that Cusack can probably do more than any of us ever expected from him. He’s strange, he’s weird, but he’s also very sinister and I like how Cusack totally just swan-dived right into the role, totally leaving all shades and memories behind of Peter Gabriel tapes in his pathway. Not to say that this is a special performance that makes us think of Cusack in a different way now, but it’s definitely a role that shows the guy can do more than just be that old dude from the 80′s we all remember relating to when our dates walked-out on us at prom. Yeah, that he is no more.
The one who really steals the spotlight from the rest of these dudes is Nicole Kidman, as the starlet fire fox, Charlotte. Kidman hasn’t been this sexy or bad-ass since the days of Eyes Wide Shut and To Die For, but here, she totally steals all the glory and attention, and has all of the fun out of everybody here. She just relishes in the fact that she can be sexy, be a little dirty, but also be a little bit sympathetic as well and once things start to go South for her and this story, she’s the only one you really give a single hoot about, especially since she’s the only one that has the most believable convictions out of the whole story (she just wants love). Kidman is probably getting the most recognition and praise for her work here and rightfully so, because the gal just looks freakin’ hot and steams up every scene she’s in, whether she’s trying to seduce people and act sexy, or not. Either way, Kidman definitely had my attention in almost every scene and I’m glad so, too, because she deserved it.
Consensus: You may have a boat-load of fun with The Paperboy if you’re looking for some weird shit to happen, non-stop without any rhyme or reason as to why exactly, but if not, then you may just be bored and annoyed by how uneven everything is, despite Daniels trying his hardest to make us think or see otherwise. You strike-out this time, my friend!
Never in my life have I wanted KFC more.
The story centers on a brother (Emile Hirsch) and sister (Juno Temple) combo who plot the death of their mother for the insurance money and hire “Killer Joe” Cooper (Matthew McConaughey) , a cop and contract killer to do the deed.
After hearing about all of the crazy controversy about this movie and it’s NC-17 rating, I knew I had to just check it out and see what all of the damn fuss is about. Yeah, it sounds strange that I would only want to go and see a flick based on it’s rating but come on, doesn’t it feel cool just going into an NC-17 movie, knowing that there’s going to be some dirty stuff that only you’re allowed to see. Actually when I word it like that, it sounds creepy. Never mind then.
76-year old legendary director William Friedkin shows that he still has the style and look to pull off any story, even the insanely-violent ones. Apparently this film was adapted from a stage-play (which is weird because I don’t necessarily think there is any audience out there that’s willing to see this type of material on stage) but Friedkin seems like he can do a lot more with it, than just making it a bunch of talking heads scenes. And even when there is talking heads scenes, they are suspenseful and very entertaining, with a whole bunch of dark comedy that will surely make you laugh, even at times that you don’t think you should.
The balance of dark humor and trashy violence is one of the key elements to Friedkin’s flick and he shows that he can make us laugh one second, but look away the next at how gruesome some of this material can get. The violence in this flick doesn’t happen all of the time, but when it does, it looks disgusting, ruthless, and so brutal to the point of where you can almost feel it. I won’t lie to you, I looked away from time-to-time, but not long enough to miss what Friedkin was showing us up on the screen: some straight-up, trailer-trash beatings. Great to see that Friedkin still has the touch that people have always seen him have back in his old days and it sort of gives hope to a lot of those older directors out there now who seem to be slowing down and getting softer in their old age. But not this guy, no sirree.
But as good as Friedkin may be behind-the-camera, the story somehow falters because everybody here, is just about as unlikable and distasteful as the next. Usually, when you have these types of stories where everybody is a baddie and you don’t know who to fall back on, there’s at least one character who at least seems likable more than them all, which there is here with Killer Joe himself, but whenever he isn’t around, you don’t really care much about anything or anybody else. These characters just go from doing one bad thing to another and it only gets worse and worse as the story goes on, which ultimately means that we start to care less and less for them and when their lives are in danger, we don’t really seem to care. I guess that’s the whole point of this film, but it didn’t do much for me.
Another problem that I seemed to have with this flick is that no matter how good it was with it’s intense dialogue and performances, it still felt a lot like a stage-play. A lot of the action that happens here, just takes place in a trailer-park home where it centered around two people just talking about God knows what. These conversations that these people have work well and distract us a bit from what seems overly-stagey, but when it comes right down to it, it still feels like a stage-play adapted to the big-screen with barely any changes here except for the actors and actresses.
However, where the story falters, the performances take over and keep your eyes on-screen the whole time. Emile Hirsch turns in another great lead performance here as Chris. Hirsch is one of those young, underrated actors that I think deserves more credit for taking challenging roles like these, rather than going down the teen idol path he could have easily gone for back when he did Speed Racer. Yeah, the movie sucked but girls were swooning all-over-the-place. His character bothered me, though, because it almost felt like this guy was getting too corrupt and dumb for his own good, and where it almost seemed like a cliché. Thankfully, the other characters distracted me enough from this problem but I still noticed it, none the less.
He is joined by Juno Temple, who plays his sister, Dottie, in one of those sweet, little innocent girl roles that doesn’t feel manipulative and we actually care for her character the most out of everybody else. She’s definitely the easiest character out of the bunch to feel some sympathy for and she feels more human than everybody else, if a tad contrived with all of her good-girl aspirations. Playing their parents are Thomas Haden Church and Gina Gershon, and both show that they have that off-kilter type of humor down-pat, but Gershon definitely feels like she’s stretching her acting talents a bit too far for her own good. However, her first appearance in this movie will probably have most people forgetting about her “acting talents” in the first place.
Still, as good as everybody is here, they don’t stand a chance against Matthew McConaughey‘s incredible performance as Killer Joe, a role that he seemed born to play. It seems like ever since The Lincoln Lawyer came out last year, McConaughey has been doing more and more roles that show the type of talents he has as an actor, rather than a guy who goes around, chasing babes like Jennifer Lopez and Kate Hudson, amongst others. There are amazingly hot and sexy ladies, but it doesn’t help his career out and I think he was starting to realize that, and that’s why he’s totally changing it all up this year. He was great as Dallas in Magic Mike, showing that he could steal just about every single damn scene he was in there, and he does the same thing here with this film but it’s a way different character from Dallas. Joe is a stone-cold killer that just looks like one of those menacing, mysterious dudes you do not ever want to mess with, ever.
However, this guy isn’t just a scary-ass dude the whole way through, McConaughey still brings out a lot of his charm and good looks to make this character seem like your everyday, good old Southern boy that you could see strolling through the streets with his cowboy hat and horse. But as time goes on, we start to see something more twisted and sinister inside of his mind in what could be some of the most tense last 20 minutes to any other film I have seen this whole year. Basically, McConaughey has totally re-invented himself by taking all of these different and darker roles which show the type of skill he has as an actor and it’s something I can’t wait to see more of. Let’s just hope he stays away from those damn rom-coms.
Consensus: Though the story may falter, Killer Joe still features a top-notch cast (especially a stand-out McConaughey), a tense and wild direction from Friedkin, and a great balance of dark humor and shocking violence/sex.
I think it’s time to reconsider my career options.
Veteran stripper Magic Mike (Channing Tatum) teaches a novice (Alex Pettyfer) about the occupation while seeking a lifestyle outside the world of stripping with the help of his protégé’s sister (Cody Horn). They work at the club Xquisite, which is owned by the former stripper Dallas (Matthew McConaughey).
I have to admit it, a “male stripper movie” is not necessarily aimed towards my demographic. Young, straight, sexy *cough cough*, male that prefers the men around him to keep their clothes on. But ”male stripper movie” directed by Steven Soderbergh is right up my alley.
Yes, the same Steven Soderbergh that is known for such flicks like Traffic, Ocean’s Eleven, Out of Sight, and Contagion, amongst others, is now doing a flick where it focuses on the life-style where dudes take their clothes off, get half-naked, dance around, get dollar bills thrown at them, and give lamp-dances to some lucky ladies in the audience. Really frickin’ strange that Soderbergh somehow found cinematic inspiration in that idea but he pulls it off here, somewhere, somehow.
What I liked most about this flick is that it has the perfect style of a Soderbergh flick. The camera has a very distinct look to it where the night-life is full of exotic and wild colors coming from every end of the area, whereas the regular, everyday life is full of this grayish look that makes everything seem like the sun hasn’t come out for days and is just trapped behind this huge-ass cloud that won’t move. There’s also a couple of other cool camera tricks here as well where Soderbergh does a couple of neat static shots that make you feel like you’re right there. Come to think of it, other than the stripping scenes, he barely moves the camera at all and that’s what was really cool about Soderbergh is how he just allowed the story to do the talking itself and just kept his camera right there. Crazy how directors can put their own little stamps on anything they do and make it work, just as long as they aren’t getting in the way of anything.
However, this isn’t a film that’s all about Soderbergh’s verité style, it’s about the men and their clothes getting ripped off in front of hundreds and hundreds of horny women and that’s exactly what this film delivers! Woo-hoo! The first time we get a full show of what goes on with the actual show itself, is probably some of the most fun I’ve had at the movie theater in so damn long. Really, I never would have ever in my right mind thought that I would be having so much fun watching a bunch of dudes rip their clothes off, but I couldn’t help but feel the same excitement that every single one of the ladies around me felt as well. Now of course my excitement was a different kind of one compared to theirs, but whenever these guys came out and started dancing and doing their thing, a certain type of energy just came-out of this film and it was almost infectious.
I don’t know what got over me, or my good buddy Paulie that I saw this with (also young, straight, sexy, and a male), but every time these guys went out on-stage, a smile just went right on my face and I just enjoyed the hell out of myself. It also helped that the crowd I was with loved the sight of half-naked dudes running rampant all-over-the-stage as well so it created this vibe that made me feel like I was actually at a male strip-club with them, just watching the show. These scenes aren’t taking so seriously either and I caught myself laughing hysterically at what I was seeing with all of these shows. And when you have a director like Soderbergh, that’s something surprising because he could have easily made all of these specific scenes just come off as some of the most depressing things to ever grace the screen, but he lets it all roll and have a good time as if he was the club promoter himself. Who knows, maybe that’s what he does in his spare time. Actually, that would make him the busiest man in Hollywood considering he makes about 3 movies each year, so no, never mind about that claim.
But underneath all of the glitz and the glamour of this life that is shown, there is also a story that grounds it all out. Yes, the film does have a story that’s somewhat dramatic but it’s handled well and focuses on Mike as he tries to help this kid out with making it big and also try to do what he wants to do and get out of the stripping business. All sounds very cliched and predictable, which it does get after awhile, but the film handles this story with such emotional honesty that it’s hard not to fall for it and believe everything it’s throwing at you. Believe it or not, this story does actually get dark but not too dark, to the point of no return. It gets just dark enough to where it can eventually lift itself back-up with another lap-dance or two. Hey, can’t go wrong with that.
If there was one big problem I had with this flick that kept me away from giving it a 9, it was that the story does get very predictable by the end and doesn’t really tell us anything new we haven’t already seen from flicks that are just like this. A theme like having too much, too soon is shown in countless other flicks like Saturday Night Fever, Boogie Nights, Goodfellas, and even a lesser-known one, Middle Men, and it’s shown here with the same exact precision, and same exact results. Tried to be a cautionary tale, but in the end, it didn’t matter whether or not we got the message, we just wanted to have fun, which is exactly what we had.
2012 will probably go down in the books as the best year of Channing Tatum‘s life. Honestly, this guy has been kickin’ ass this whole year with Haywire (another film by Soderbergh), The Vow (I know I’m the minority on that one), 21 Jump Street, what was supposed to be G.I. Joe: Retaliation, and now this. This is basically Tatum’s story because it was based off of his experiences and what better person to play the lead, then the person who knows it best. Tatum is great in this role as Magic Mike because he plays up every single emotion we have ever seen him play, ever. He’s funny, he’s sad, he’s inspired, he’s horny, he’s drunk, he’s high, he’s mad, he’s happy, and most of all, he knows how to freakin’ dance. Holy shit man! I know that this kid could dance from his days in Step Up, but he really lets it all-out here and shows that he can not only back his good-looks up with some acting chops, but also some nice dance moves that will absolutely knock your socks off once you see what he pulls off. Seriously, I got frickin’ jealous. And that never happens because I know I’m in such a better shape than that chump will ever be in.
Playing his kinda-sorta love-interest, Cody Horn is alright here but she’s a little stiff with her line delivery as it seems like she doesn’t know what to say next to all of the shit Tatum says and actually does. Her character was also one of those stand-offish types of people that didn’t approve of something that one person did, so they continue to lecture them and try to show their disapproval for all that they do. Lame! Playing her little bro in this movie, Alex Pettyfer shows some real skill as an actor with a role that will hopefully get his name out there more than it did last year with bombs like I Am Number Four and Beastly. Sheesh!
But the one cast member that I couldn’t stop thinking about when this whole movie was over, was in fact, Matthew McConaughey playing the sleazy club owner, Dallas. Here’s the thing with McConaughey: he’s talented, has great comic delivery, looks great, and knows how to act whenever a flick needs him to. The problem is, he always gets himself stuck in the same, old rom-com roles that do nothing for him other than make him look like an utter fool. Thankfully, he’s back in full-action with his role here and shows that he can do it all. He totally plays up that party-boy act we all know and love him for, but there’s also something very dark deep-down inside of all of it, a darkness that actually gets shown more and more as the film progresses. This is great to see McConaughey go through with this character because whenever he’s funny and having a good time, he made me laugh my ass off, but whenever he got mad and you could tell his character meant business, I got scared shitless, wondering just what the hell he was going to do next. That’s how great this role is for him and he plays it up all so perfectly. So perfectly, that he may even come by with an Oscar nomination for Best Supporting Actor come around February of 2013. But that’s a stretch, I know.
Oh, and for all of you wrestling fans out there, Kevin Nash is also up in this bitch playing a huge male-stripper that goes by the name of Tarzan. Have no idea why the hell he’s in this, but at least he’s getting some line of work.
Consensus: Even though the story may get predictable by the end, Magic Mike is still a flick that has fun with its premise and fills it with sleaze, humor, raunch, glitz, glamour, great performances from the cast, and plenty of memorable stripping sequences that will surely have you inspired to go out there and try and work that pole like no other. Then again, maybe not.